Between 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.
Between 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
The De Gruyter Handbook of Humor Studies consolidates the cumulative contributions in theory and research on humor from 57 international scholars representing 21 different countries in the widest possible diversity of disciplines. It organizes research in a unique conceptual framework addressing two broad themes: the Essence of Humor and the Functions of Humor. Furthermore, scholars of humor have recognized that humor is not only a universal human experience, it is also inherently social, shared among people and woven into the fabric of nearly every type of interpersonal relationship. Scholars across all academic disciplines have addressed questions about the essence and functions of humor at different "levels of analysis" relating to how narrowly or broadly they conceptualize the social context of humor. Accordingly, the editors have organized each broad thematic section into four subsections defined by "level of analysis." The book first addresses questions about individual psychological processes and text properties, then moves to questions involving broader conceptualizations of the social context addressing humor and social relations, and humor and culture. By providing a comprehensive review of foundational work as well as new research and theoretical advancements across academic disciplines, the De Gruyter Handbook of Humor Studies will serve as the foremost authoritative research handbook for experienced humor scholars as well as an essential starting point for newcomers to the field, such as graduate students seeking to conduct their own research on humor. Further, by highlighting the interdisciplinary interest of new and emerging areas of research the book identifies and defines directions for future research for scholars from every discipline that contributes to our understanding of humor.
This volume presents a comprehensive overview of methodological issues and empirical methods of practice-oriented research. It examines questions regarding the scope and boundaries of practice-oriented approaches and practice theory. It discusses the potential advantages and disadvantages of the diversity resulting from the use of these approaches, as well as method and methodology-related issues. The specific questions explored in this volume are: What consequences are linked to the application of a praxeological perspective in empirical research when it comes to the choice of methods? Is there such a thing as an ideal path to follow in praxeological empirical research? What relationship is there between qualitative and quantitative approaches? What differentiates practice-based social research from other perspectives and approaches such as discourse analysis or hermeneutics? The contributions in this book discuss these questions either from a methodological point of view or from a reflective perspective on empirical research practices.
This collection explores the many ways in which the Netflix series Sense8 transcends television. As its characters transcend physical and psychological borders of gender and geography, so the series itself transcends those between television, new media platforms and new screen technologies, while dissolving those between its producers, stars, audiences and fans. Sense8 united, inspired and energized a global community of fans that realized its own power by means of online interaction and a successful campaign to secure a series finale. The series' playful but poignant exploration of globalization, empathy, transnationalism, queer and trans aesthetics, gender fluidity, imagined communities and communities of sentiment also inspired the interdisciplinary range of contributors to this volume. In this collection, leading academics illuminate Sense8 as a progressive and challenging series that points to vital, multifarious, contemporary social, political, aesthetic and philosophical concerns. Sense8: Transcending Television is much more than an academic examination of a series; it is an account and analysis of the way that we all receive, communicate and consider ourselves as participants in global communities that are social, political and cultural, and now both physical and virtual too.
Visual Participatory Arts Based Research in the Cities maps ontological, aesthetic and ethic differences between humanist and posthumanist arts-based research, while providing insight on methodological orientations to develop arts-based research with frameworks based on process-philosophies. It is the first book on arts-based research which focuses on the city, adopting a posthumanist approach to the assembled nature of urban environments, where agency is distributed across infrastructures, technologies, spaces, things, and bodies. Chapters one to seven feature a series of studies, situated in different cities in Europe and the Americas, which outline experiences of movement, inhabitancy, interdependence, collaboration, infrastructuring and sensorial re-calibration informed by art practices in film, photography, digital projection, installation, performance and art as social practice. At the core of this book is the idea that aesthetic ecologies of cities do not depend solely on human activity, relying instead on non-logocentric modalities of collective life. The book is an indispensable tool to researchers, instructors and graduate students in education, the social sciences and the arts aiming to conceive, design and develop projects in arts-based research.
An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang
This book is an advocate for the change-making capacity of culture. It is also a source of inspiration for renegotiating our understanding of the world and affirming culture as a critical space to practice courage and perseverance amid complex societal reconfigurations. It focuses on courageous citizens: those whose daring, sharing and inventing contribute to our collective future, and for whom culture and democracy are the starting points for vision and action.0The contributors explore intellectual and practical interventions that open up a terrain of debate in the enduring struggle for just societies across Europe, zooming in on three key themes that have proven to be of particular relevance during the past decade, and that also keep resonating when looking at the very possibility of another future. They do so by acknowledging the underlying cycle of (re-)thinking, doing and changing that is inherent to remodelling the way we view the world, and concurrently, the potential of culture to generate positive social change.0The three key themes addressed in the book are: 1) Identity and Diversity, 2) Culture, Communities and Democracies; and 3) Solidarity and Fragmentation.
Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.
How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.
