Distributed Aesthetics =96 Call for Papers for fibreculture journal,=20
issue to be published May 2005

It has been widely argued by sociologists, cultural and media theorists=20=

such as Manuel Castells, Arjun Appardurai and Geert Lovink that we now=20=

live in a landscape shaped by the flows and traffic of globally=20
networked information. We have become, in Castells words, a =91networked=20=

society=92 and our cultural, social and economic practices must operate=20=

within this global space of flows. The geography of place and history=20
in which association through physical proximity and tradition such as=20
neighbourhood, or through identification based upon race, class or sex,=20=

recedes to give way to information space. Artists have responded to=20
this shifting cultural landscape by taking up the net itself as a=20
medium for practice, by forming their own artistic networks facilitated=20=

by net infrastructure and functionality, and by critically responding=20
to what distributed spatio-temporalities might mean for the art object=20=

itself, for art production and for audience interaction. Beyond the=20
identification of an historical art movement =96 net.art =96 distributed=20=

aesthetics names ways of artistically operating in a time and space of=20=

information flows, and of engendering modes of perception specific to=20
these flows.

In this issue of fibreculture journal, we are seeking contributions to=20=

the aesthetic and artistic theorisation, use and development of=20
networked spaces, times and technologies. How, in short, has the=20
network considered in its broadest sense contributed technically and=20
culturally to contemporary modes of perception? Writers may approach=20
this from the perspective of speculative, empirical, historical and/or=20=

critical theories. Specific case studies of online artistic practice,=20
the use of ICTs in artistic community and collaboration, politics and=20
networked aesthetics, and analyses of networked art projects are=20
encouraged.

Topics specifically sought for inclusion are:

-The differences between and relationship of new media aesthetics to=20
networked aesthetics
-The geopolitics of online artistic communities.
-Activism and online art/practice
-Theories of distributed time and space as they relate to the=20
production and management of perception.
-Artistic projects that operate in mixed =96 online/offline =96 modes.
-Online aesthetics after net.art, including wireless, mobile, p2p and=20
opens source models.
Distributed Aesthetics will be guest edited by Lisa Gye, Anna Munster=20
and Ingrid Richardson

Submission Dates:
Please submit a 250 word abstract outlining the principal argument of=20
your paper, its scope and major methodologies to Anna Munster, guest=20
editor of Distributed Aesthetics
No later than December 20, 2004
A.Munster_at_unsw.edu.au

Completed papers due: February 28, 2005

Dr. Anna Munster
Senior Lecturer
Post-Graduate Coordinator
School of Art History and Theory,
College of Fine Arts
University of NSW
P.O Box 259
Paddington, 2021
NSW
Australia
ph: 612 9385 0741
fx: 612 9385 0615=

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Received on Mon Oct 11 2004 - 12:54:04 EDT