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Academic literature on the topic 'BBM (Artists' group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "BBM (Artists' group)"

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Rodríguez, Nelesi, and Eugenia Manwelyan. "Of Vessels, Conduits and Instruments: Reflections from the Bodies as Media Working Group." INMATERIAL. Diseño, Arte y Sociedad 2, no. 3 (2017): 91–115. http://dx.doi.org/10.46516/inmaterial.v2.31.

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 In the fall of 2016, a group of artists and educators met regularly over the course of three months to explore the many ways in which the human body mediates experience and knowledge. In their time working together, the Bodies as Media Working Group (BaM) explored the ways in which the (human) body comes to know, understand, and communicate ancestry, memory, ecology, emotionality, creativity, and even death. This working group was created as part of the School of Apocalypse (SoA), a NYC-based community of learning that examines connections between creative practice and survival. T

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Kristensen, Juliette. "Making Ways of Seeing: A Conversation with Mike Dibb and Richard Hollis." Journal of Visual Culture 11, no. 2 (2012): 181–95. http://dx.doi.org/10.1177/1470412912444228.

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In 1971, Stephen Hearst, head of the BBC Music and Arts department, commissioned John Berger to make a television series on topics of his choosing. With Mike Dibb, then a young producer/director in the department, Berger made the four-part television series Ways of Seeing. Following its success, BBC Publications commissioned Berger and Dibb to turn the television programme into a book, a project for which Richard Hollis, a graphic designer Berger had previously worked with on the magazine New Society and his novel G., was brought in. Together with script consultant Chris Fox and artist Sven Bl

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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Mole, Tom. "Hypertrophic Celebrity." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2424.

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Critics are always trying to catch up with the phenomena they analyse, and critics of celebrity culture are no different. For most of its history, the celebrity apparatus has had a vested interest in staying invisible. So long as it remained illegible to cultural analysis, it could claim to be simply a transparent medium for exhibiting star quality. The celebrity’s public profile could appear to be the well-earned result of talent and determination, or the seemingly magical crystallization of his or her personality. But recently, some of the mechanics of celebrity culture have gained their own

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Kibby, Marjorie Diane. "Monument Valley, Instagram, and the Closed Circle of Representation." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1152.

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IntroductionI spent five days on the Arizona Utah border, photographing Monument Valley and the surrounding areas as part of a group of eight undertaking a landscape photography workshop under the direction of a Navajo guide. Observing where our guide was taking us, and watching and talking to other tourist photographers, I was reminded of John Urry’s concept of the “tourist gaze” and the idea that tourists see destinations in terms of the promotional images they are familiar with (Urry 1). It seemed that tourists re-created images drawn from the popular imaginary, inserting themselves into fa

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Nunes, Mark, and Cassandra Ozog. "Your (Internet) Connection Is Unstable." M/C Journal 24, no. 3 (2021). http://dx.doi.org/10.5204/mcj.2813.

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It has been fifteen months since the World Health Organisation declared the COVID-19 outbreak a global pandemic and the first lockdowns went into effect, dramatically changing the social landscape for millions of individuals worldwide. Overnight, it seemed, Zoom became the default platform for video conferencing, rapidly morphing from brand name to eponymous generic—a verb and a place and mode of being all at once. This nearly ubiquitous transition to remote work and remote play was both unprecedented and entirely anticipated. While teleworking, digital commerce, online learning, and social ne

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Brady, Danielle, and Neil Ferguson. "Embody." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.555.

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The impetus for this issue dates from a symposium on Embodied Knowledges held at Edith Cowan University in Perth in 2011. The Symposium arose from the shared interests of a diverse group, many of them practice-led researchers, and should have been a clue that the call for papers for this issue would attract different conceptions of the body. Nevertheless we were surprised by the many kinds of bodies implied in the 17 papers received and are pleased to offer a selection in the 'embody' issue of M/C Journal.Part of the difficulty of talking about the body as a source of knowledge, and also as a

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Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.353.

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In 1988, historian Nadia Wheatley and indigenous artist Donna Rawlins published their award-winning picture book, My Place, a reinterpretation of Australian national identity and sovereignty prompted by the bicentennial of white settlement. Twenty years later, the Australian Broadcasting Corporation (ABC) commissioned Penny Chapman’s multi-platform project based on this book. The 13 episodes of the television series begin in 2008, each telling the story of a child at a different point in history, and are accompanied by substantial interactive online content. Issues as diverse as religious diff

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Tuters, Marc, Emilija Jokubauskaitė, and Daniel Bach. "Post-Truth Protest: How 4chan Cooked Up the Pizzagate Bullshit." M/C Journal 21, no. 3 (2018). http://dx.doi.org/10.5204/mcj.1422.

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IntroductionOn 4 December 2016, a man entered a Washington, D.C., pizza parlor armed with an AR-15 assault rifle in an attempt to save the victims of an alleged satanic pedophilia ring run by prominent members of the Democratic Party. While the story had already been discredited (LaCapria), at the time of the incident, nearly half of Trump voters were found to give a measure of credence to the same rumors that had apparently inspired the gunman (Frankovic). Was we will discuss here, the bizarre conspiracy theory known as "Pizzagate" had in fact originated a month earlier on 4chan/pol/, a messa

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Books on the topic "BBM (Artists' group)"

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group), BBM (Artists'. BBM, dieser Wahnsinn muss ein Ende haben: Maschinenperformances 1991-1992. Internationalismus, 1993.

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