Relevant bibliographies by topics / Digital materiality

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Digital materiality'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 May 2025

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Journal articles on the topic "Digital materiality"

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Hui, Yuk. "Towards A Relational Materialism." Digital Culture & Society 1, no. 1 (September 1, 2015): 131–48. http://dx.doi.org/10.14361/dcs-2015-0109.

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AbstractThis article takes off from what Lyotard calls ‘the immaterial’, demonstrated in the exhibition Les Immatériaux that he curated at the Centre Pompidou in 1985. It aims at outlining a concept of ‘relational materiality’. According to Lyotard, ‘the immaterial’ is not contrary to material: instead, it is a new industrial material brought about by telecommunication technologies, exemplified by Minitel computers, and serves as basis to describe the postmodern condition. Today this materiality is often referred to as ‘the digital’. In order to enter into a dialogue with Lytoard, and to render his notion of ‘immaterial materials’ contemporary, this article contrasts the concept of relational materiality with some current discourses on digital physics (Edward Fredkin, Gregory Chaitin) and digital textuality (Matthew Kirschenbaum). Against the conventional conception that relations are immaterial (neither being a res nor even having a real esse), and also contrary to a substantialist analysis of materiality, this article suggests that a relational materiality is made visible and explicit under digital conditions. It suggests a reconsideration of the ‘relational turn’ in the early 20th century and the concept of concretisation proposed by Gilbert Simondon. The article concludes by returning to Lyotard’s notion of materialism and his vision of a new metaphysics coming out of this ‘immaterial material’, and offers ‘relational materialism’ as a contemporary response.
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Tschofen, Monique, and Lai-Tze Fan. "Introduction : Matérialités vibrantes à travers les médias, la littérature et la théorie." Imaginations: Journal of Cross-Cultural Image Studies 14, no. 2 (December 18, 2023): 5–17. http://dx.doi.org/10.17742/image29699.

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This special issue of *Imaginations: Journal of Cross-Cultural Image Studies* takes materiality as the critical touchstone for a new comparative literary and media studies. We ask: How can an examination of the modes of inscription across media, platforms, and interfaces draw greater attention to what is often ignored in critical conversations about texts, objects, and bodies; how can such an investigation attend to the vitality of their materiality? Studies of materiality may occur of/in: images, texts, subjects, and objects; philosophical approaches to materiality and interrelationality; cultural considerations of user relationships to media materiality; mediums of scholarship, including critical applications in open-source publishing; critical making and research-creation; and experiences, interactions, and representations of digital spaces. Here, we take materiality to include actants, actors, inscriptions, assemblages, interfaces, objects, bodies, things and the things we think with, as well as their agencies and provocations. The papers reconsider the entanglements between inscription and representation and between inscription and world through theoretical frameworks that show that “matter matters,” using approaches that include code studies, critical making, digital humanities, ecocriticism, feminism, Marxism, media archaeology, new materialism, and phenomenology.
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Horst, Heather, and Daniel Miller. "Normativity and Materiality: A View from Digital Anthropology." Media International Australia 145, no. 1 (November 2012): 103–11. http://dx.doi.org/10.1177/1329878x1214500112.

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As with all material culture, the digital is a constitutive part of what makes us human. Social order is itself premised on a material order, making it impossible to become human other than through socialising within a material world of cultural artefacts, and includes the order, agency and relationships between things, and not just their relationship to persons. This article considers the consequences of the digital culture for our understanding of what it is to be human. Drawing upon recent debates concerning materiality in the sub-field of digital anthropology, we focus upon four forms of materiality – the materiality of digital infrastructure and technology; the materiality of mediation; the materiality of digital content; and the materiality of digital contexts – to make the case that digital media and technology are far more than mere expressions of human intention. Rather than rendering us less human, less authentic or more mediated, we argue that attention should turn to the human capacity to create or impose normativity in the face of constant change. We believe these debates around materiality and normativity, while rooted in the discipline of anthropology, have broader implications for understanding everyday practices in the digital age.
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Neubert, Christoph. "Vom Disegno zur Digital Materiality." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 1 (2012): 46–68. http://dx.doi.org/10.28937/1000106210.

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Janik, Justyna. "The material world of digital fictions." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 57–72. http://dx.doi.org/10.14746/i.2021.38.04.

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This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this analysis, I will focus on Undertale (Toby Fox, 2015) as an example of a game that plays with the boundaries between the fictional world being presented and the elements of digital materiality that are usually hidden from the player’s sight.
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Heilmann, Till A. "Reciprocal Materiality And The Body Of Code." Digital Culture & Society 1, no. 1 (September 1, 2015): 39–52. http://dx.doi.org/10.14361/dcs-2015-0104.

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Abstract Materiality has often been a neglected factor in discussions of digitally encoded information. While a lot of early works in media studies suffered from this shortcoming, questions regarding the materiality of digital technology and artefacts have slowly gained prominence in recent debates. Matthew Kirschenbaum’s concept of “forensic” and “formal” materiality has proven particularly useful to the study of digital artefacts, differentiating the (routinely overlooked) physical existence of digital data from their (commonly discussed) logical character. However, analyses concerning the materiality of digital artefacts are often one-sided, focussing on the physicality of the medium in which digital data are inscribed. To counter this bias, I present the concept of a ‘reciprocal materiality’ of digital data: It is not only that digital data are always inscribed in some material substrate (Kirschenbaum’s ‘forensic’ dimension of data); conversely, the materiality of the medium inscribes itself into the structure of digital data (its ‘formal’ level). The ‘body of code’ is shaped by the material framework it inhabits. I will illustrate this using as an example one of the most important encoding schemes in the history of digital technology: the American Standard Code for Information Interchange (ASCII). A ‘close reading’ of the technical specifications of ASCII - a standard designed in the early 1960s to work across multiple technological platforms - will reveal the extent to which this code incorporates the materiality of media such as punched tape and teletype terminals.
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Ries, Thorsten. "Digital history and born-digital archives: the importance of forensic methods." Journal of the British Academy 10 (2022): 157–85. http://dx.doi.org/10.5871/jba/010.157.

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This article explores the historical materiality of born-digital primary records from a digital forensic, archival and historical scholarship perspective. On a conceptual level, the article discusses the historical materiality, layeredness and complexity of born-digital records, considers the impact of technological change on their forensic materiality as well as archival and historical scholarship methodology and practice. These historical, forensic and archival perspectives will be laid out drawing on examples from Glyn Moody�s personal digital archive, born-digital documents of the Mass Observation Project Archive (MOPA) and cases of cybersecurity events, including the hack of matrix.org in 2019. The discussion makes the case for further developing open and sustainable digital forensic preservation formats, workflows and practice in the archive sector for personal, institutional and web archives, as well as for the development of digital forensic methodology for critical digital source appraisal in historical scholarship.
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Zuanni, Chiara. "Theorizing Born Digital Objects: Museums and Contemporary Materialities." Museum and Society 19, no. 2 (July 30, 2021): 184–98. http://dx.doi.org/10.29311/mas.v19i2.3790.

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This paper explores the characteristics of born digital objects and how their materiality is framed and transformed in the musealization process. It draws on vibrant materialism and web archiving, framing born digital objects as assemblages and proposing a distinction between these and reborn digital objects, i.e. their collected counterparts. The paper relates this new framing of digital objects to established museological frameworks, such as analyses of the musealization process through the lenses of semiotics and research on authenticity in relation to digital reproductions, in order to unpick the ontological and epistemological transformation this contemporary form of heritage undergoes in entering the museum.
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Mohar, Alenka Kepic. "The Materiality of Textbooks." Logos 30, no. 2 (November 4, 2019): 26–34. http://dx.doi.org/10.1163/18784712-03002005.

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This article discusses changes in the materiality of textbooks by examining several examples of primarily Slovene textbooks from various periods. By focusing on their spread design rather than technical aspects (e.g., length, weight, and format), one may infer that their materiality changed with the development of printing technologies and publishing skills. Based on the assumption that textbook visuality is a field of meaning that requires different bodily movements, postures, and engagement with the physical environment to produce cognitive processing, this article sheds light on how the body adapts to the changed materiality of digital textbooks. Numerous micro-movements in a long string of procedures are required in a digital textbook ecosystem. All the participants should be aware of the different demands and properties of the digital textbook ecosystem. Therefore, further empirical research is needed.
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Makris, D., C. Sakellariou, and L. Karampinis. "Emerging materiality through dynamic digital conservation." Digital Applications in Archaeology and Cultural Heritage 23 (December 2021): e00198. http://dx.doi.org/10.1016/j.daach.2021.e00198.

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Dissertations / Theses on the topic "Digital materiality"

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Ballard, Susan Patricia Art College of Fine Arts UNSW. "Out of order: explorations in digital materiality." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42596.

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Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
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Tsamis, Alexandros 1976. "Digital graft : towards a non-homogeneous materiality." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28810.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.
Includes bibliographical references (leaves 104-110).
(cont.) and form development. Through this approach, space can be perceived not as distributed geometries, but rather as a composite graft responding locally to flows of programmatic and environmental parameters.
Digital methodologies have radically shifted our conception of the design process, as well as our understanding of geometry in terms of flexible relationships instead of finite positions in space. However, the material tectonic that digital means imply has not yet been explored on the basis of the new possibilities disclosed by these very same tools. Tectonic investigations have almost exclusively focused on construction techniques and primarily on the optimisation of methods that preceded the appearance of digital tools. I would argue, that computer generated architecture might imply a new understanding of matter and mass. So far, the materialization of formal expressions instigated by such processes are primarily based on techniques of assembly, which do not negotiate the advanced levels of material complexity that the tools put forward. This thesis lies on the premise of investigating modes to address an emergent rather than imposed materiality of distributions, instigated by computer-generated processes. Methodologically, this thesis has a twofold task. The former is to interrogate an alternate prism of construction history, which does not shed emphasis on geometry, but rather on mass and matter, paraphrasing Michel Serres. The atter task is to launch design experiments that respond to an alternate, emerging perception of material densities, constellations and coagulations. Through a series of digital case studies it becomes both a "theoretical" and "technical" probe of a materiality with local differences exploring non-homogeneous ways of distributing matter in space. Three material strategies--thread, component and substance--will be presented in an attempt to address modes of interrogating a reciprocal relationship between material
by Alexandros Tsamis.
S.M.
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Pitsillides, Stacey. "Digital death : the materiality of co-crafted legacies." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22959/.

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Our relationship to death is changing. The prevalence of death and dying online has created new ways of understanding those we have lost. This includes the diversification of aesthetics traditionally associated with mortality. Online environments have provided new opportunities for interacting with the dead, putting the theory of continuing bonds into practice but also creating a data boom that is an overwhelming digital legacy. The question of how we can make meaning from the things left behind will explore the entanglement of people with data, documents, traces, things, collections and archives both online and in our homes. This develops an understanding of materiality that considers the digital as a unique material, incorporating the affordances of digitality into our experiences of personal collections. It uses crafting, narrative and curation to draw these collections together, offering a plurality of experiences and aesthetics. In association with The Hospice of St Francis, this research uses co-design as a methodology for constructing three unique collaborations between the bereaved, a creative practitioner (art therapist or designer) and the collection itself. These collaborations create an emergent process for exploring the qualities of inherited things. The co-design process informs the use of materials and concepts, with the aim of creating meaningful artefacts for exhibiting. The participants are able to steer the overall direction and focus of this practice research from the first session, narrating the collection to the final construction of crafted responses. It follows through into the public exhibition where the use of language, curation and aesthetics are developed collaboratively. This research can be applied to hospices developing a creative and digital agenda, in addition to public engagement through the collaborative exhibition. It also has strong relevance to the fields of art therapy and co-design, bringing them into conversation and sharing methods.
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De, Lorenzo Nicholas. "Photography Post-Photography: Materiality of the Photograph." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.

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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.
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Haskell, Natalie. "Design practice through emerging digital fabrication technologies, workflows and materiality." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/413298.

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In the age of Industry 4.0, transformative technologies are radically changing design practice, workflow and fabrication; what outputs are designed; and in turn, the impact products and/or experiences created have on the user and ways of manufacturing. The research is focused on the role of Additive Manufacturing (AM) within Industry 4.0; industries being disrupted by these shifts, and the opportunities this presents for customised solutions. Key questions driving the research are: as emerging technologies transform ways of designing and fabricating, what opportunities does this present for more customised, personalised user experiences; for localised fabrication; for more sustainable futures (to include the relationship between sustainable materials research and the rise of Additive Manufacturing), and the role of design research to engage with these new paradigms and the impact on future design practice. The research is divided into four case studies, two focused on Design + Health and two on Industry 4.0 + Additive Manufacturing. The first two case studies utilise Additive Manufacturing for rapid prototyping and conceptual customised product design solutions across scales. These case studies identified opportunities with Additive Manufacturing and also gaps within industry to use these technologies for customised and localised solutions. In an age of rapid development of Additive Manufacturing tools that can radically enhance our ways of working and the outcomes possible (such as complexity of form, mass customisation and sustainable material use), accessibility to these tools within industry and by designers is a critical component of industry transformation in Advanced Manufacturing. When considering future design practice and the role design research can play to facilitate the uptake of new technologies within industry, the last two case studies are focused on industry integrated projects. As suggested by the World Economic Forum when discussing the rise of Additive Manufacturing in Industry 4.0, “whatever the requirements, they are non-negotiable for manufacturers, regulators and consumers … a focus on product life cycle intrinsically implies an even stronger focus on materials. The age of the application of Additive Manufacturing is in fact the age of materials.”1 The research started with Additive Manufacturing technologies identified as a means to facilitate more localised, customised and sustainable manufacturing, and ends with exploration into the future of Additive Manufacturing and the role research can play.Essentially, as we look to embrace new fabrication methods, the material-environmental and social-cultural sustainability impact are crucial considerations.2 This is supported by the CSIRO Advanced Manufacturing Roadmap (2016), which states that sustainable manufacturing and innovation (enabled through technologies such as Additive Manufacturing) are key to the future growth of Australia’s manufacturing and design industry.3 Along with the identification of the need for “improved collaboration and alignment between industry and research.”4 With the current impact of COVID-19 on supply chains, this perspective has been further enhanced by the CSIRO COVID-19: Recovery and Resilience report (2020)5, along with the recent release of the Circular Economy Roadmap for Plastics, Glass, Paper and Tyres (2021)6. As designers locally and globally, there are opportunities to respond to these issues with localised production, re-framing material use through the use of emerging technologies and Advanced Manufacturing.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Elerding, Carolyn. "Mechanical Clouds and Other Concrete Abstractions: Materiality, Enlightenment, and the Digital." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492627462988087.

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Rydell, Nils. "Displacing the Familiar." Thesis, Konstfack, Grafisk design & illustration, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7980.

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Displacing the Familiar is a practice-based research project focused around the exploration of digital materiality. This writing is intended to give the reader an exposé of the thought process that has emerged out of my crafting and practice. It also presents shorter technical insights and examples of software used. This project takes it starting point in the joy of unpacking the digital technology. The urge to explore and understand the underlying processes that renders visuals material on the screen. How can a visual practice concerned with digital materiality work?
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Gruwell, Leigh C. "Multimodal Feminist Epistemologies: Networked Rhetorical Agency and the Materiality of Digital Composing." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1436810721.

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Smith, Imogen J. "Materiality and media: Australian literary journals in the post-digital publishing ecology." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107725/4/Imogen_Smith_Thesis.pdf.

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Literary journals have always held a shifting and uncertain place in Australian cultural life, and in recent years, technological developments have both destabilised and provided new possibilities for literary journal publishing. While literary journals have a long history of adapting to challenges, material changes in publication media brought about by the introduction of digital publishing technologies have struck deeper than ever before, and prompted questions about journals' survival and relevance. These questions have, as yet, been the subject of little academic inquiry. This project aims to fill this gap in the knowledge of literary publishing in the 'messy', 'post-digital' publishing ecology, which is characterised by change and negotiations between media and their materialities. The research examines the role materiality plays in the literary journal field within this landscape, and asks how literary journal editors exploit the languages of different media to achieve their goals. In responding to these questions, the research employs methodology that combines interviews with Australian literary journal editors and textual analysis, complemented by a contextual review and underpinned by a theoretical framework based on the sociology of literature. The research argues that a combination of economic, technological, and cultural factors has given rise to a 'hierarchy of media' favouring print in the literary journal field. Within this hierarchy, editors' opinions and activities, funding constraints, and changing markets position print as a site of literary and symbolic value. This hierarchy can, however, be called into question when editors' perspectives are mitigated by those of readers and writers. Here, digital and print textualities and literacies are defined by difference, rather than their capacity to communicate literary or symbolic value. This thesis presents findings on the economics and culture of the Australian literary journal field, and the ways literary journal editors communicate through media and their materialities in the 'post-digital' publishing ecology.
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Payne, Simon. "Materiality and medium-specificity : digital aesthetics in the context of experimental film and video." Thesis, Royal College of Art, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503027.

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This thesis proposes a concept of materiality and medium-specificity that is relevant to the theorisation of digital aesthetics in the context of experimental film and video. Drawing on the example of structural/materialist film, in particular, the thesis presents a critique of several theories associated with new technology, which describe digital media as immaterial and privilege practices that involve virtual reality, immersive environments and cinematic aesthetics. The discussion of a number of key experimental films and videos highlights differences between film, analogue and digital video, but the issue of materiality is not located in terms of technology alone. The comparison and analysis of individual works, in terms of the subjectivity they engender, shows materiality to be located in the relationship between the work and the viewer. In revisiting a range of significant historical films and videos from a digital age the thesis offers a new perspective on past works as well as offering an original account of the contemporary films and videos that are discussed. In considering aesthetics associated with intervals, framing, abstraction and the concept of medium-specificity more generally, the thesis points to aesthetic strategies and an approach to practice that might carry across media. The five videos that accompany the thesis pose questions that are analogous to those that are raised by some of the work discussed in the writing; and in tackling the materiality of the medium they contribute to the project's definition of a critical practice.
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Books on the topic "Digital materiality"

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Buono, Veronica Dal. Raffaello Galiotto: Design digitale e materialità litica. Melfi, Italia: Casa Editrice Librìa, 2012.

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Rendell, James. Transmedia Terrors in Post-TV Horror. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726320.

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In the twenty-first century horror television has spread across the digital TV landscape, garnering mainstream appeal. Located within a transmedia matrix, Transmedia Terrors in Post-TV Horror triangulates this boom across screen content, industry practices, and online participatory cultures. Understanding the genre within a post-TV paradigm, the book readdresses what is horror television, analysing not only broadcast TV and streaming platforms but also portals such as YouTube, Twitch.TV, and apps. The book also investigates complex digital media ecologies, blurring distinctions between niche and general audience viewing practices, and fostering new circulation pathways for horror television from around the world. Undertaking netnography, the book further offers an innovative model – abject spectrums – to empirically explore myriad audience responses to TV horror, manifesting in various participatory practices including writing, imagery, and crafts. As such, the book greatly expands what is considered horror television, its formatting and circulation, and the transmedia materiality of audience engagement.
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Fuller, Matthew. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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Austria. Signaturgesetz: Bundesgesetz BGBl I 1999/190 mit den Materialien und zusätzlichen Anmerkungen. Wien: Manz, 1999.

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Magherini, Simone. AD900 – archivio digitale del 900 letterario italiano. Firenze: SEF - Centro Studi Palazzeschi, 2022. http://dx.doi.org/10.35948/9788860326065.

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Realizzato nell'ambito dei due finanziamenti PRIN 2003-2006, il portale raccoglie e presenta i materiali dell'Archivio Palazzeschi dell'Università di Firenze, dell'Archivio Gozzano-Pavese dell'Università di Torino, dell'Archivio del Novecento in Liguria dell'Università di Genova, alcuni fondi dell'Archivio del Novecento dell'Università La Sapienza di Roma e dell'Archivio linguistico e cinematografico italiano (Aleci) di Alberto Raffaelli. Esso conserva manoscritti, lettere, foto, filmati in formato digitale visibili e consultabili on line, con possibilità di un'ampia gamma di ricerche sui dati e sui testi.
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Moskatova, Olga, ed. Images on the Move. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452462.

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In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move - ranging from wired photography to postcards to streaming media.
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Ukraine) Respublikansʹka naukovo-praktychna Internet-konferent︠s︡ii︠a︡ "Elektronni informat︠s︡iĭni resursy" (2010 Vinnyt︠s︡i︠a︡. Elektronni informat︠s︡iĭni resursy--stvorenni︠a︡, vykorystanni︠a︡, dostup: Zbirnyk materialiv Respublikansʹkoï naukovo-praktychnoï Internet-konferent︠s︡iï, m. Vinnyt︠s︡i︠a︡, 12-18 kvitni︠a︡ 2010 roku : (do 50-richchi︠a︡ stvorenni︠a︡ VNTU). Kyïv: Kondor, 2010.

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Malina, Roger F. Series ed., ed. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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Bartelmus, Martin, and Alexander Nebrig, eds. Schriftlichkeit. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460924.

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Die Erfahrung digitaler Schriftlichkeit hat nicht bloß die Materialität der Schrift bewusster gemacht, sondern auch die gegenwärtige Schriftpraxis als eine maschinell bedingte offenbart. Von diesem Befund ausgehend, nehmen die Beiträger*innen des Bandes die Agentialität der Schrift genauer in den Blick und prüfen auch für die analoge Praxis, welche Handlungsmacht sie besitzt. Mit ihrem Blick auf nicht-menschliche Aktanten sowie die Aktivität von Schrift machen sie deren spezifische Agentialität deutlich und geben rückwirkend Aufschluss über das weiterhin vage Konzept der Schriftlichkeit.
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Digital Materiality in Architecture. Lars Müller Publishers, 2008.

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Book chapters on the topic "Digital materiality"

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Shep, Sydney J. "Digital Materiality." In A New Companion to Digital Humanities, 322–30. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118680605.ch22.

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Grice, Malcolm Le. "Material, Materiality, Materialism [1978]." In Experimental Cinema in the Digital Age, 164–71. London: British Film Institute, 2001. http://dx.doi.org/10.1007/978-1-349-91371-8_13.

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Denny, Phillip. "Materiality and Objecthood." In Digital Fabrication in Interior Design, 84–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003025931-9.

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Denny, Phillip. "Materiality and Objecthood." In Digital Fabrication in Interior Design, 84–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003025931-9.

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Bratteteig, Tone. "A Matter of Digital Materiality." In Computer Supported Cooperative Work, 147–69. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-223-0_5.

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Kiernan, Anna. "Materiality and Post-Digital Storytelling." In New Directions in Book History, 89–102. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75081-7_8.

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Mills, Kathy A., Len Unsworth, and Laura Scholes. "Mind and materiality of digital reading." In Literacy for Digital Futures, 25–44. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003137368-3.

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Atalaia, Nuno. "16. Tracing the Voice's Digital Materiality." In Edition Kulturwissenschaft, 173–80. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839466971-019.

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Engberg, Maria. "Reading and materiality: conditions of digital reading." In The Digital Reading Condition, 14–25. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003211662-4.

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O’Sullivan, James. "Digital Materiality and the Politics of the Screen." In Towards a Digital Poetics, 95–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11310-0_5.

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Conference papers on the topic "Digital materiality"

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Mohseni, Hesam, Marcos Antonio de Almeida, Daniel Schneider, and António Correia. "‘Do I Belong Here, There, or Elsewhere?’: The Materiality and Intangible Benefits of Technology in Digital Nomads' Place-Belongingness." In 2024 8th International Symposium on Multidisciplinary Studies and Innovative Technologies (ISMSIT), 1–4. IEEE, 2024. https://doi.org/10.1109/ismsit63511.2024.10757193.

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Ktistakis, George, and Demosthenes Akoumianakis. "Towards digital materiality." In the 18th Panhellenic Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2645791.2645847.

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Jung, Heekyoung, and Erik Stolterman. "Digital form and materiality." In the 7th Nordic Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2399016.2399115.

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Rhomberg, Daniel. "Towards a Digital Anisotropic Materiality." In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.549.

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Israel, Johann Habakuk, Laurence Mauderli, and Laurent Greslin. "Mastering digital materiality in immersive modelling." In the International Symposium. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2487381.2487388.

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Husic, Sinan, and Sheryl Boyle. "Thinking and Making - Digital Craft Hybridity." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.25.

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Research creation opens opportunities to explore the evolving understanding of materiality in a world seemingly split between hand-craft and digital design and fabrication. This project explores 3D printing of ultra-high performance concrete through a series of material exercises in the creation of a chair to interrogate how materiality might be evolving.
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Pretious-Cooney, Chrissy. "Experimenting with the Physicality of Digital Materiality." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.12.

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Marcos, Carlos L. "New materiality: ideation, representation and digital fabrication." In eCAADe 2011 : Respecting Fragile Places. eCAADe, 2011. http://dx.doi.org/10.52842/conf.ecaade.2011.351.

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Garg, Nipun, and Sheng-Yang Huang. "Conjugated Materiality – Reinstating Material Circularity via Digital Twins." In CAADRIA 2023: Human-Centric. CAADRIA, 2023. http://dx.doi.org/10.52842/conf.caadria.2023.1.705.

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Menges, Achim. "Material Generation: Materiality and Materialisation as Active Drivers in Design Computation." In ACADIA 2012: Synthetic Digital Ecologies. ACADIA, 2012. http://dx.doi.org/10.52842/conf.acadia.2012.021.

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Reports on the topic "Digital materiality"

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Lindberg, Dick. Välfärdsteknologi i de nordiska länderna – en kartläggning av statliga satsningar. Nordic Welfare Centre, 2023. http://dx.doi.org/10.52746/hepe6058.

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Verksamhetsutveckling med digitala stöd fyller en viktig funktion för att samhället ska kunna fortsätta att erbjuda välfärd för invånarna. I de nordiska länderna pågår arbete och utveckling på olika plan när det gäller digitalisering och införande av välfärdsteknologi. Denna kartläggning omfattar välfärdsteknologi i socialtjänsten, i huvudsak inom äldreomsorgen och kring insatser till personer med funktionsnedsättning. Kartläggning ger en bild av den digitala utvecklingen, med särskild inriktning på välfärdsteknologi i Norden ur ett nationellt och statligt perspektiv. Kartläggningen är genomförd utifrån fyra huvudsakliga frågeställningar. 1. Vilka visioner, mål och strategier har de nordiska länderna när det gäller välfärdsteknologi inom socialtjänsten 2022 och framåt? 2. Vilka konkreta satsningar görs på nationell, regional och kommunal nivå via statliga medel? 3. Finns det aktuella, nyligen avslutade eller pågående utredningar inom området på nationell nivå i de nordiska länderna som berör digitalisering, e-hälsa eller välfärdsteknologi i vård- och omsorgssektorn? 4. Vilken är den nationella statusen för säker hantering av identiteter och behörigheter inom socialtjänsten? I datainsamlingen till denna rapport har utredaren intervjuat företrädare för ministerier, departement, statliga myndigheter som hanterar social omsorg och service samt hälso- och sjukvård och digitalisering inom dessa sektorer. Även kommunförbund har intervjuats. I rapporten presenteras materialet landsvis.
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Chagas, Viktor, and Luiza de Mello Stefano. TikTok e Polarização Política no Brasil. Laboratório de Pesquisa em Comunicação, Culturas Políticas e Economia da Colaboração (coLAB), July 2022. http://dx.doi.org/10.56465/ddoslab.2022.001.

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Este relatório se baseia em uma amostra composta por 23.139 vídeos publicados por 264 perfis de políticos no TikTok. Os dados coletados se referem ao período entre outubro de 2018 e março de 2022, quando se encerrou o prazo de desincompatibilização de cargos, segundo o calendário do Tribunal Superior Eleitoral (TSE). O estudo procura avaliar como os políticos utilizam e incorporam o TikTok em suas respectivas estratégias de comunicação política, que tipo de conteúdo produzem, e que resultados concretos, em termos de alcance e engajamento, eles obtêm. Muito se comenta a respeito das diferenças de apropriação de plataformas digitais por políticos de esquerda e de direita. O estudo procura abordar também essa distinção, apresentando dados empíricos que sustentam que o campo conservador-reacionário tem empregado mais e melhor o TikTok para alcançar maior visibilidade e despertar mais engajamento do público. Analisar como direita e esquerda utilizam o TikTok pode elucidar uma série de aspectos relacionados às estratégias de adoção de plataformas digitais por atores políticos. Entre os principais resultados alcançados por este estudo, destacam-se: (a) Políticos de esquerda tendem a publicar menos no TikTok do que políticos de centro e de direita; (b) Políticos de esquerda tendem a ter um número inferior de seguidores e baixos índices de engajamento, se comparados aos políticos da direita; (c) Políticos de esquerda tendem a assumir uma postura mais “dialógica” em comparação com os políticos de direita, que geralmente se caracterizam por uma postura mais “materialista”, ou seja, preferem acumular mais seguidores do que seguir outros usuários; (d) Políticos de esquerda tendem a receber menor quantidade de visualizações nos conteúdos que publicam; (e) Políticos de esquerda tendem a valorizar mais conteúdos de natureza estritamente política, ao passo que políticos de direita fazem uso de uma retórica mais voltada para o entretenimento e o humor, desviando-se frequentemente de pautas públicas; (e) Há quase duas vezes mais políticos de direita no TikTok em relação ao número de políticos de esquerda; (f) Políticos de direita tendem a utilizar mais trilhas sonoras para dublagens e aproveitar melhor as affordances da plataforma para alcançar maior alcance e engajamento; (g) Políticos de direita articulam melhor suas bases de seguidores, já que tendem a ter um número maior de visualizações em seus conteúdos quando dispõem de uma base maior de seguidores; (h) Políticos de direita tendem estatisticamente a acumular mais seguidores e a receber mais curtidas em seus vídeos, ao passo que políticos de esquerda sofrem uma tendência inversa; (i) Políticos de direita não parecem fazer muito investimento para receber mais curtidas em seus conteúdos. Por outro lado, eles costumam acumular um número bastante superior de visualizações, o que pode sugerir um papel ativo da filtragem algorítmica e do sistema de recomendações do TikTok ao indicar tais conteúdos aos usuários; (j) Tiririca é líder absoluto em diferentes métricas de engajamento da plataforma. Seu perfil, porém, não apresenta qualquer referência à sua atuação como deputado federal e se concentra na trajetória enquanto humorista.
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Financial Infrastructure Report 2023. Banco de la República, December 2023. http://dx.doi.org/10.32468/rept-sist-pag.eng.2023.

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Introduction The Financial Infrastructure Report is a product of Banco de la República’s (Banrep) continuous efforts to scrutinize financial market infrastructures (FMIs) in Colombia, besides being a contribution to analyzing and monitoring the country’s financial stability. If FMIs are not managed properly, they can pose significant risks to the financial system and be a possible source of contagion, especially in periods of market stress. The domestic financial infrastructure during 2022 was safe and efficient, allowing the payment system and financial markets to operate normally, which lent stability and confidence to its participants. This 2023 edition of the Report includes analysis on the mitigation of intraday liquidity risk in the large-value payment system (CUD), as well as credit and liquidity risk based on countercyclical practices for the management of initial and variation margins in the Cámara de Riesgo Central de Contraparte S.A. (CRCC). In addition, the Report addresses two topics that are at the center of international debate. The first deals with cyber risk, an issue that cuts across the entire domestic financial infrastructure. It is considered one of the most relevant risks; therefore, its effective management has been the focus of recommendations by multilateral organizations. On this occasion, a section is included that outlines these recommendations and focuses on highlights in local progress towards achieving substantial levels of cyber resilience in the Colombian payment system. It is worth noting that Banco de la República is moving forward with a research agenda to quantify the impact instances of cyber risk could have on the payment system and on financial stability. The second topic addresses the need to analyze the adoption of special frameworks for orderly settlement on the part of central counterparties (CCPs), so as to mitigate systemic risk, recognizing the role these types of entities play in the development of markets and financial stability, as well as their essential contribution to mitigating counterparty and liquidity risks. As for retail payments, the use of electronic payment instruments rose significantly in value during 2022 compared to 2021. Transactional data shows the increase in the use of electronic transfers, both intra- and interbank, was particularly important, having become an object of greater innovation, as evidenced, for example, by the use of mobile wallets. Although the adoption for electronic transfers and debit and credit cards has increased in Colombia over the last ten years, compared to other economies, the country still has low levels in this respect. According to the most recent survey on perception of the use of payment instruments conducted by Banrep (2022), cash continues to be the instrument most used by Colombians for regular payments involving small amounts. This points to an important area for increasing the adoption of digital payments, which would materialize with implementation of the different initiatives the industry and the financial authorities (Ministry of Finance-URF, the Office of the Financial Superintendent of Colombia and Banco de la República) are carrying out to develop the instant payments ecosystem. On the other hand, analyses of the risks associated with crypto assets, which are understood as alternatives to the regulated assets in the traditional financial system, but traded in an unregulated digital environment, are also relevant. In this respect, the Report looks at the potential risks that could arise from the added adoption of stablecoins in economies, specifically in a global context where authorities are studying possibilities for using different mechanisms to contain the risks inherent in crypto assets. The third section of the Report deals with aspects such as smart contracts and programmable money, which are innovations that could be considered in an eventual issue of digital currencies by central banks. In keeping with the previous editions of this Report on matters related to central bank digital currencies (CBDC), this edition explains how these two technological functionalities could accompany the design of a retail CBDC, as well as some of the risks that should be considered. Also addressed in this section is the topic of standardized messaging, which is a trend in the field of payments. Reference is made to the United Kingdom’s experience with the adoption of standardized messaging, and its contributions to interoperability.
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