CFP – Fibreculture – Digital and Networked Media: Contemporary Issues and Events

Fibreculture Journal’s currently seeking papers for a general issue under the broad theme of Digital and Networked Media – Contemporary Issues and Events. The deadline is tight with abstracts due August 8. See all the information below.

CFP: Digital and Networked Media- Contemporary Issues and Events

Please note that for this issue, initial submissions should be abstracts only

Abstract deadline:August 8, 2014

Article deadline: September 10, 2014

Publication: December, 2014

All contributors and editors must read the guidelines at:

Before working with the Fibreculture Journal Email correspondence for this issue:

The Fibreculture Journal invites submissions for the Digital and Networked Media—Contemporary Issues and Events issue. The issue will be published in 2014 so please note that the deadlines are short and final. It will suit authors with already close-to-finished, high-level papers that are ready for submission and looking for publication in 2014. The Editors are looking for work that discusses key contemporary issues and events in digital and networked media, and/or work that engages in transversal critique in areas related to digital and networked media. Although we will accept articles of usual length, we also encourage shorter articles of 3000-4000 words.

Initial abstracts should be sent to Andrew Murphie at the email address above.

The Fibreculture Journal ( is a peer reviewed international journal, associated with Open Humanities Press (, that explores critical and speculative interventions in the debate and discussions concerning information and communication technologies and their policy frameworks, network cultures and their informational logic, new media forms and their deployment, and the possibilities of socio-technical invention and sustainability.

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Guattari, Felix 2012 Schizoanalytic Cartographies, reviewed by Thomas Jellis


A colleague of mine, Thomas Jellis, has written an excellent review of the lastest translation of Félix Guattari’s work, Schizoanalytic Cartographies.

Originally posted on Society and Space - Environment and Planning D:

Cartographes schizoanalytiquesThomas Jellis reviews Felix Guattari’s book Schizoanalytic cartographies, Bloomsbury, London, 2012,

Schizoanalytic Cartographies is an ambitious and thought-provoking book that provides a detailed exposition of Guattari’s version of schizoanalysis, a form of analysis that he extracts from the debris of a reductionist psychoanalysis. As part of this approach, Guattari looks to “minimize the use of notions like those of subjectivity, consciousness, significance … as transcendental entities that are impermeable to concrete situations” (page 23) and instead provides an array of terms which he offers as instruments for a speculative cartography.

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Lacan Deleuze Badiou // Reviews // Notre Dame Philosophical Reviews // University of Notre Dame

Originally posted on PHILOSOPHY IN A TIME OF ERROR:

Adrian Johnston reviews in the NDPR Lacan Deleuze Badiou by A. J. Bartlett, Justin Clemens, and Jon Roffe (Edinburgh University Press, 2014): Lacan Deleuze Badiou // Reviews // Notre Dame Philosophical Reviews // University of Notre Dame.

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It’s not just about the thesis…


Doing a Ph.D. should be more than just reading and writing, this post in “The Thesis Whisperer” discusses other activities Ph.D. students should be doing to help them become better students and prepare them for the future.

Originally posted on The Thesis Whisperer:

In a recent lecture at ANU, the esteemed research education expert Dr Margaret Kiley claimed that if we set out to design the Australian PhD from scratch we wouldn’t start from here. The PhD assessment (in most cases, a long form thesis), she argued, does not not necessarily develop the full panoply of skills we expect in a working researcher, inside or outside of academia.

One of the clever students in the audience absorbed the implications of Margaret’s lecture straight away and asked:

If that’s the case, what should I spend my time on? At the moment I spend most of my time reading and writing because that’s what I’m being assessed on. Should I be doing more?

Joyce Seitzinger and I being silly in a photobooth for the Canberra Tourist board.

Joyce Seitzinger and I being silly in a photobooth for the Canberra Tourist board.

The student’s question went right to the heart of an issue that has been frustrating me…

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More Than Just Pixels: Experiencing Colours, Vibration, and Contrast in Digital Images

I got word yesterday that a paper I proposed has been accepted to the “Screen Textures: Haptics, Tactility, and the Moving Image” conference taking place at the University of Pittsburgh on October 17-18, 2014.

The paper is titled “More Than Just Pixels: Experiencing Colours, Vibration, and Contrast in Digital Images” (just like this blog post) and this is the paper’s abstract:

When gazing at images on digital screens—whether they are smartphones, laptops, or cinema projectors—what you come to see is more than just the colourful offerings of the pixels generate for perception. The assemblage of coloured pixels found within digital screens go beyond just freckled depictions of local surface colours and the representations of light reflecting off of depicted objects. The colours contained in every pixel have an elasticity that extends beyond themselves, affecting all the other colours surrounding them. This ability for colours to stretch beyond the limits of their confines is what they have always done. However, as I will argue in this paper, you cannot directly see this elasticity of colour occurring because it usually exceeds human perception. Yet this imperceptible activity is still experientially felt as sensations below the threshold of visibility.

The elasticity of colours, which launch the invisible sensations you come to feel in the seeing, is what Deleuze calls vibration. Vibrating is a self-generated activity. The colours within the pixels subtly quiver because, as Bergson notes, that is what colours do. Yet they never vibrate alone. Colours can never be experienced by themselves. They always have neighbours that they constantly reach towards or are reaching towards them. Through their self-generating movements, colours actively seek to enter into relations with each other. But before these relations can occur, a contrast must take place. According to Whitehead, relations cannot emerge into experience without an encounter with contrast. For him, contrast doesn’t simply differentiate neighbouring colours but also enables them to actively conjoin, generating the potential for something new to emerge into sight. Without contrast, as I will contend, there are no relations among the colours, felt sensations through their vibrations, or images to be seen.

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My Review of Nathaniel Stern’s “Interactive Art and Embodiment”

My review of Nathaniel Stern‘s new book Interactive Art and Embodiment: The Implicit Body as Performance was published in Art Journal earlier this month. You can download the pdf of the article from Taylor and Francis (unfortunately there is a paywall) or you can read it on the blog for the book here.

This book is the first in a new series called “Art Future Book” from Gylphi. I hope to see more books of similar caliber from this series.

To give you a taste of what I think of this book, here is the conclusion of my review:

By asking us to engage with interactive art at the level of potential for movement, thinking, and feeling, Stern alters the idea of what inquiry can be, changing it from an analysis of something static into a dynamic event. The act of examination becomes as much a performance as the interactive art it investigates. Through the use of Stern’s implicit body framework, artworks become more than mere descriptions placed within a historical context. Through his writing, artworks become alive in the reading, giving us a sense of how the embodied interactions and emergent relations feel as they are encountered.

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Future Projects Page Now Up

Please look at the menu bar of this blog for a moment. You will (hopefully) notice the new “Future Projects” page, which give descriptions of my three current projects. Two of these projects have more detailed sub-pages. Please feel free to look at “Participating with the SenseLab: Conversations on Research-Creation” and “Elusive Presence: How Images Make Themselves Felt.”

For now I can tell you that none of these projects have a publisher. I just completed the book proposal for one and will be finishing the proposal for another. I will be giving regular updates to all of these projects, so stay tuned.

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