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Volume 20 Number 2 Year 2014

15 articles in this issue 

Lanfranco Aceti

If we look at the etymological structure of the word interference, we would have to go back to a construct that defines it as a sum of the two Latin words inter (in between) and ferio (to strike), but with a particular attention to the meaning of the word... see more


Paul Thomas

The theme of ”˜interference strategies for art’ reflects a literal merging of sources, an interplay be - tween factors, and acts as a metaphor for the interaction of art and science, the essence of transdisciplinary study. The revealing of metaphors for i... see more


Mark Guglielmetti

Scientific modelling requires us to suspend disbelief, nowhere is this more palpable than in artificial life, an area of computational research investi - gating the principles that constitute a living system “without making refer - ence to the materials t... see more


Mark Cypher

Rather than follow the machinations of a singular artist in the production and exhibition of an interactive artwork, this paper uses an actor-network approach to collectively hold to account a whole host of actors that literally make a difference in the p... see more


David Eastwood

If, as Oliver Grau has stated, immersion “is characterized by diminishing critical distance to what is shown and increasing emotional involvement in what is happening, ” any artwork might be thought of as potentially im - mersive. Arguably, immersion is a... see more


Darren Tofts, Lisa Gye

This paper explores the uncanny anticipation of mobile telephony in the history of the visual image. Drawing on our remix project, The Secret Gestural Prehistory of Mobile Devices, it critically engages with contem - porary media culture’s obsession with ... see more


Leon Marvell

This paper investigates Bataille and Masson’s drawing of the Acephale, the escutcheon of Bataille’s esoteric cabal and the journal ( Acéphale) that espoused his vision of a violently sacralised society. Masson’s drawing of the acephalic monster is the emb... see more


Oliver Grau

Considering its technological and thematical contexts, digital art conveys different – even more complex – potentials of expression than traditional art forms (such as sculptures, paintings, etc.), what makes digital art a paradigmatic expression of its t... see more


Adam Nash

This article investigates the nature of digital data as a medium for art. Specifically, what are the qualities and specificities unique to the medium of digital data, and how can artists working with this medium create work that cannot be created in any o... see more


Edward Colless

An ancient library of what has become known, if contentiously, as the “gnostic gospels” was accidentally exhumed in 1945 from a monastic grave - yard in Nag Hammadi in Egypt. Among these esoteric texts, most of which were lost to history since their hasty... see more


Brogan Bunt

The tradition of modern and contemporary art seems to be characterised by an endless pushing back of the boundaries separating art and everyday life, art and the sphere of the social. This is typically interpreted in terms of a work of merging and blurrin... see more


Susan Ballard

On the 1st February 2011 Google unleashed the Google Art Project, a new way to engage with the major collections of the world’s art galleries. With the Google Art Project came a new way of viewing, not just art but the other objects that inhabit art galle... see more


Mark Titmarsh

This paper argues that the enduring mystery of colour, in particular its el - emental effusiveness, has been tamed and managed by notions of good taste and chic that equate cultural maturity with a limited palette. Yet co - lour in all its post industrial... see more


Anna Munster

Increasingly, the images we regard as authoritative – those with a seem - ingly direct relation to the ”˜truth’ of our brains, profiling our identities, or mapping our universe – are not generated optically. They are composed out of other media, notably s... see more