WOOT. WOOt. WOot. Woot. woot.

For the first time since I have had an email account (perhaps 1993?) I have inbox zero. I thought this would feel like, what? That I was on top of things? More in control? I’ll have to wait and see. Right now it feels, I know oddly, like I must not have anything to do. […]

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Poetics of Networked Video

Abstract for an essay that is underway: Much writing on online video uses a media and cinema studies tradition that relies upon a tripartite separation of critical theoretical frameworks that considers either audiences, institutions, or the texts themselves. In the specific case of critical writing on online video these three broad models have remained largely […]

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Academic Writing, Open Publishing

Straight off the email. Be good. Can’t go, other deadlines but would’ve liked to have had the opportunity. Interested people are invited to a workshop on Digital Publishing and Open Access Publishing. The workshop features some of the leading people involved in contemporary scholarly communication during the past decade. These include Fibreculture founder, Geert Lovink, […]

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It is All About Uncertainty

This uncertainty is any, or all of: my relation to what I make my relation to my audience what I make’s relation to the audience what I make’s relation to its parts my audience’s relation to the parts of what I make and whether my audience are users or an audience All of these can be completely controlled, completely open, or (as is normally the case) somewhere in between. … Our answers vary, but how these are answered largely defines the sort of interactive work you can and will make.

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The Gay Indifference of Technical Media

This constrained task is used to create a particular suite of patterns that the project makes literal, constituting the intent of the work, while also relying upon and making visible a particular digital and technical logic that becomes a poetics of minor variation and the accidental. This allows ‘About 7am’ to become a way of thinking in digital, networked video about the ‘agency’ of the human and the posthuman in the context of technical recording media, and allows the work to argue that technical media’s indifference to that which is recorded allows not only for a poetics of minor patterns, but that the associated and inevitable indexical ‘accidental’ becomes a guarantor of the real.

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Affective Assemblages: Documentary Practice

My slides from the 2012 Visible Evidence conference held in Canberra in December. Arguing that network specific ‘aggregators’ such as Cowbird are documentaries, that such systems revolve around or respond to indeterminacy in particular ways and are therefore affective assemblages (affect engines) in the sense of affect provided by Deleuze in Cinema One.

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