Timothy S Barker
Biographic Data
| ID | 3848459 |
|---|---|
| NAME | Timothy S Barker |
| GIVEN NAMES | Timothy S |
| FAMILY NAME | Barker |
| SIGNATURE | BARKER T S |
| AFFILIATIONS | Timothy S. Barker (researcher and teacher), The University of Glasgow, Glasgow, G12 8QQ, Scotland.. |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 1 |
Becoming Organ-ized: The Creativity of Organization, Dis-Organization and Re-Organization in Scientific and Artistic Experiments
Taking its starting point from a recent experiment in the genetics of E. coli, this article explores how processes of organization, dis-organization and re-organization may be thought of as creative. Extending Deleuze and Guattari's concept of the Body without Organs and citing artworks such as George Legrady's Slippery Traces, Paul DeMarinis's Messenger, Jon McCormack's Eden and Natalie Jeremijenko's One Trees, the paper juxtaposes recent scient…
Performing Digital Aesthetics: The Framework for a Theory of the Formation of Interactive Narratives
Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relation…
The past in the present: Understanding David Claerbout's temporal aesthetics
David Claerbout's recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality t…
The past in the present: Understanding David Claerbout's temporal aesthetics
David Claerbout's recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality t…
Performing Digital Aesthetics: The Framework for a Theory of the Formation of Interactive Narratives
Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relation…
The past in the present: Understanding David Claerbout's temporal aesthetics
David Claerbout's recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality t…
Becoming Organ-ized: The Creativity of Organization, Dis-Organization and Re-Organization in Scientific and Artistic Experiments
Taking its starting point from a recent experiment in the genetics of E. coli, this article explores how processes of organization, dis-organization and re-organization may be thought of as creative. Extending Deleuze and Guattari's concept of the Body without Organs and citing artworks such as George Legrady's Slippery Traces, Paul DeMarinis's Messenger, Jon McCormack's Eden and Natalie Jeremijenko's One Trees, the paper juxtaposes recent scient…
Aesthetics (3 works) · Art (3 works) · Epistemology (3 works) · Philosophy (3 works) · Sociology (3 works) · Computer Science (2 works) · Social science (2 works) · Visual arts (2 works) · Agency (philosophy) (1 works) · Art history (1 works)