By overlap I assume you are referring to the lefthand column, finding a point of comparison among the different apparati (Practice, Procedure etc). That is a convention of analysis. I don’t see much overlap between Religion, Science, and Entertainment as Institutions, for example. So the point of making the table is to [...]

By overlap I assume you are referring to the lefthand column, finding a point of comparison among the different apparati (Practice, Procedure etc). That is a convention of analysis (as you know). I don’t see much overlap between Religion, Science, and Entertainment as Institutions, for example. So the point of making the [...]

By overlap I assume you are referring to the lefthand column, finding a point of comparison among the different apparati (Practice, Procedure etc). That is a convention of analysis (as you know). I don’t see much overlap between Religion, Science, and Entertainment as Institutions, for example. So the point of making the [...]

Is very true that ‘’digital technology is an unmistakable presence’’ in our life, but my concern is still traditions.
Do you really forgot “traditional art “or maybe you never know about it. What about art before 1900? Is only in the gallery? Who still experiment and research this old technique?
Art it been [...]

By Kazys Varnelis; Chinese Translation by Lily & Honglei 评论具体段落，点击段落旁边的泡状图标 在整个九十年代，数字计算和网络技术在很大程度上只应用于办公室工作，其文化影响仅限于个别专有领域的爱好者。如果说这十年的新媒体艺术形成了一种非常重要的艺术亚文化，它基本上还是孤立和自我参照的，部分原因是由于艺术家们对黑客文化的迷恋，由于长期以来格林伯格主义者 (Greenbergian) 的艺术审察, 还由于艺术机构将其边缘化. 在电脑离开有限的用户群体, 成为有广泛社会功能之前,瓦克﹒寇司克 (Vuk Cosic)，朱迪(Jodi)，阿列克谢﹒舒利金 (Alexei Shulgin)，和希思﹒班廷 (Heath Bunting) 等艺术家重演了二十世纪初的前卫战略，同时将图形与八十年代黑客文化的程序演示平等化. 今天，相比之下，数字技术，是日常生活中的明确无误的存在，并逐渐与地来自主流社会的需要和公约不可分割的. 网络文化是一个广泛的社会文化的转变，就像后现代性，并不限于科技发展或“新媒体” . 正因为数字和网络技术的成熟与当代文化是不可分割的, 我们必须在更宽广的背景下理解其, 事实上, 这甚至比电视产生于后现代的现象更令人瞩目. 今天, 可以说, 所有的艺术都是网络艺术的一种延伸. 这种调查不能仅限于网络，但也不能仅限于“艺术”. 随着把文化产业的产品带入艺术,后现代主义提出所谓高和低的问题（认为沃霍尔或晚些的巴巴拉.克鲁格，辛迪.舍曼，杰夫.昆斯, 以及理查德普林斯, 为典型的早期现代主义的艺术家), 但网络文化将这种区别完全消除。网络文化中的艺术将观众的欲望显现化解为艺术合作, 并模糊了艺术与媒体和公众的界限 . 正象艾伦.刘所建议, 随着知识的广泛传播, 对时尚的态度和机敏变得比历史的深入了解更为重要，文化产物的 ‘酷’ 或‘不酷’比其地位的高和低更重要（实际上，现在普遍认为，除非该对象首先“很酷”，将它塑造成“高级”是一种媚俗之举）. 不过，作为网络艺术书籍而非网络文化产品中的一部分，我们的重点仍是艺术。但我们也将漫游得远一些，对文化产品,高，低等标准，在线或非在线作更广泛的调查. 因此，本文探讨的不仅是关于Turbulence.org 的内容，也包括电视与 YouTube 或者画廊. 具体说，这一章讲述网络文化产品如何利用现实，从电视现实节目, 博客, MySpace, YouTube 直到艺术画廊. 现实艺术为高度的即时感打造了正式结构和更深的含义. 但是这种直接是调解和分散的，而非真实与存在的. 谈论一件作品是“现实”媒体并不意味着它不是编攥的. 相反， “现实”媒体中的真实之所以迷人，是由于有现实电视节目、业余生成的内容，或以具体策略创作的专业 [...]

Hi Manuel, thank you for your precious feedback. I was not aware of the Choose Your Own Adventure gamebook series. However, it is interesting to notice that this is still a book (i.e. its topology is immediately accessible to the reader in its entirety) and that it is a game–a cultural form that borrows some [...]

Hi Manuel, thank you for your precious feedback. I was not aware of the Choose Your Own Adventure gamebook series. However, it is interesting to notice that this is still a book (i.e. its topology is immediately accessible to the reader in its entirety) and that it is a game, i.e. a cultural form that [...]

Hi Manuel, thank you for your precious feedback. I was not aware of the Choose Your Own Adventure gamebook series. However, it is interesting to notice that this is still a book (i.e. its topology is immediately accessible to the reader in its entirety) and that it is a game, i.e. a cultural form that [...]