The convergence of mobile technologies and ubiquitous computing is creating a world where information-rich environments may be mapped directly onto urban topologies. This book tracks the history and genesis of locative and wearable media and the ground-breaking work of pioneer artists in the field. It examines changing concepts of space and place for a wide range of traditional disciplines ranging from Anthropology, Sociology, Fine Art and Architecture to Cultural and Media Studies, Fashion and Graphic design.
Mobile and Pervasive media are beginning to proliferate in the landscape of computer mediated interaction in public space through the emergence of smartphone technologies such as the iPhone, cloud computing extended wifi services and the semantic web in cities. These dispersed forms of interaction raise a whole series of questions on the nature of narrative and communication, particularly in relation to an audience’s new modes of mobile participation and reception.
These issues are explored through a series of focused essays by leading theorists, seminal case studies and practitioner interviews with artists at the cutting edge of these technologies, who are extending the potential of the medium to enhance and critique technological culture.
By emphasizing the role of the audience in this nomadic environment, the collection traces the history and development of ‘ambulant’ artistic practice in this new domain, creating an essential handbook for those wishing to understand the dominant global technology of the 21st Century and its implications for Art, Culture and Audience.
Using the Braudelian concept of the Mediterranean this volume focuses on the condition of “coastal exchanges” involving the Dalmatian littoral and its Adriatic and more distant maritime network. Spalato and Ragusa intersect with Constantinople, Cairo and Spanish Naples just as Sinan, Palladio and Robert Adam cross paths in this liquid expanse. Concentrating on materiality and on the arts, architecture in particular, the authors identify portability and hybridity as characteristic of these exchanges, and tease out expected and unexpected serendipitous moments when they occurred. Focusing on translation and its instruments these essays expand the traditional concept of influence by thrusting mobility and the "hardware" of cultural transmission, its mechanisms, rather than its effects, into the foreground.
SOAS, University of London;
Institute of Art History, Split;
University of Zagreb;
State University of Louisiana;
City of Split, Split;
Columbia University and
David Young Kim,
University of Pennsylvania
more justice to the size of most paintings included. Nevertheless, it is a testimony to a critical and logistical effort that sets the ground for further study adressing head-on Foujita’s elaborate brand of hybridity. 1 All quotes from the catalogue are my own translations from the French or Japanese
examines differences in the making and reception of Japanese kimonos, Chinese robes, and hybrid creations, arguing that the “fluidity” (p. 263) that characterizes such multicultural garments is to be acknowledged and shown rather than obviated through essentializing taxonomies. The concluding chapter
What role does ‘place’ have in a world marked by increased mobility on a global scale? What strategies are there for representing ‘place’ in the age of globalization? What is the relationship between ‘place’ and the varied mobilities of migrancy, tourism, travel and nomadism? These are some of the questions that run through the ten essays in this collection. The combined effect of these essays is to participate in the contemporary project of subjecting the links between place, mobility, identity, representation and practice to critical interdisciplinary scrutiny. Such notions are not the property of particular disciplines. In the era of globalization, transnationalism and readily acknowledged cultural hybridity these links are more important than ever. They are important because of the taken-for-grantedness of: the universal impact of globalization; the receding importance of place and the centrality of mobile identities. This taken-for-grantedness masks the ways place continues to be important and ways in which mobility is differentiated by race, gender, ethnicity, nationality and many other social markers. This book is a concerted attempt to stop taking for granted these themes of the age. Material discussed in the essays include the creation of cultural routes in Europe, the video’s of Fiona Tan, artistic and literary representations of the North African desert, the production of indigenous videos in Mexico, mobile forms of ethnography, the film
Existenz, Jamaica Kincaid’s writing on gardens, the video representation of sex tourism and ways of imagining the global. Authors include: Tim Cresswell, Ginette Verstraete, Ernst van Alphen, Ursula Biemann, Laurel C. Smith, Nick Couldry, Isabel Hoving, Renée van de Vall, Inge E. Boer and Kevin Hetherington.
accretion and hybridity wove a web of words and images with which to drape the universe and its occupants, both human and divine. Late-antique garment imagery is at once both highly imagistic and bluntly literal: you can turn a soul inside out to wash it through baptism, just as you wash a garment. This
post-modern literary criticism, the resulting ‘mash-ups’ provide interesting case studies, which explains the recent interest in Christian centos over the past few decades. Proba’s Jesus, intertextually rich and polyvalent, is a multi-literary hybrid, a composite of Vergilian lines that never lose
, but rather one who is dressed. 22 On the arch in Split, a dragon is shown with two legs and a tail ending in a serpent’s head. This is a remnant of various hybrid monsters which date back to the classical world, and it is closest to the mythical creature called an amphisbaena . In ancient Greek
golden apples, guarded by Atlas for Juno, represent the philosophical and astrological, thus human, arts of Atlas, which were stolen by Hercules, because virtue overcomes and wins over every human ingenuity; centaurs are simply armed men on horseback, interpreted as hybrid beasts by the first man who saw
film about a Pakistani-born taxi driver in a city in northern England who realizes that his son is turning into an Islamist fundamentalist successfully challenges the colonial binary of us (British) and them (Pakistani) through the depiction of hybrid, hyphenated ethnic identities, and traces how a