201 research outputs found
Rethinking where the thinking happens —in conversation with Sarah Kember [Elektronisk resurs]
No full textEva Weinmayr (co-founder AND Publishing) is in conversation with Sarah Kember (director Goldsmiths Press) to discuss visions, strategies in the running of this newly founded academic publishing house: Goldsmiths Press, which attempts to further an experimental and feminist publishing practice in academia. Outlining the current problems in academic publishing, such as the hidden enclosures of open access, quantification, streamlining they discuss the pedagogical agency of publishing, feminist citation politics and strategies how to run a university press, that attempts to do things differently
Inventive Life: Approaches Towards a New Vitalism
No full textSpecial issue co-edited and introduced with Sarah Kember and Celia Lury
Editorial
No full textSarah Kember's contribution, which is part theory, part practice (the practice of fiction), seeks to offer an understanding of photography and photographs beyond that provided by the humanities (and by humanist discourse of both the art‐historical and the “visual cultural” kind). In the first part (“The Virtual Life of Photography”) she turns to Bergson to reinterpret Barthes's ontological enquiry in Cameras Lucida, and to the study of new media and science and technology studies (STS) to theorise photography's contemporary condition. Kember places photography firmly within its (new) media ecology: an ecology in which no medium stands alone, hard‐walled and untouched by others; this is an ecology in which convergence has taken place, not only between media, but also between technology, information, and the biological sciences, a condition within which photography is now entangled. Yet, she argues, we do not know what photography is (although she suggests how we might get closer to knowing) not only because of the limits of the theories seen as legitimate to address the question but also, following Bergson, because of a dominance of intellect and an atrophy of intuition as a method of enquiry. This, she suggests, is a situation that disables our ability to grasp an ontology of “becoming”, the very kind to which she sees photography belonging. In the second part (“Of Murder and Metamorphosis”) Kember proceeds to explore the kind of account that her analysis of photography's ontology and condition might generate. She considers a fictional report of (as she presents it) an invisible event – a photograph of a man being struck by lightening. In a mode that is itself a hybrid of academic research and fiction, Kember reflects upon how such an event might be understood when media studies, physics, biology, mythology, and medicine, as well as an address to photography as culture, are used to investigate processes that are always both natural and cultural, social and technological, material and metaphorical
CREATe (the Centre for Creativity, Regulation, Enterprise and Technology), Whose Book is it Anyway?
No full textResearch Grant - AHRC, ESPRC, ESRC
2012-2016
Co-PI (with Sarah Kember)
CREATe (the Centre for Creativity, Regulation, Enterprise and Technology), Whose Book is it Anyway
Book review : Life after new media: mediation as a vital process by Sarah Kember and Joanna Zylinska
No full textBook review : Life after new media: mediation as a vital process by Sarah Kember and Joanna Zylinsk
Review of iMedia: The Gendering of Objects, Environments and Smart Materials by Sarah Kember (Basingstoke, UK: Palgrave Macmillan, 2016)
No full textReview of iMedia: The Gendering of Objects, Environments and Smart Materials by Sarah Kember (Basingstoke, UK: Palgrave Macmillan, 2016
Inventive Life: Approaches to the New Vitalism
No full textThis book demonstrates how and why vitalism - the idea that life cannot be explained by the principles of mechanism - matters now. Vitalism resists closure and reductionism in the life sciences whilst simultaneously addressing the object of life itself. The aim of this collection is to consider the questions that vitalism makes it possible to ask: questions about the role and status of life across the sciences, social sciences and humanities and questions about contingency, indeterminacy, relationality and change. All have special importance now, as the concepts of complexity, artificial life and artificial intelligence, information theory and cybernetics become increasingly significant in more and more fields of activity
Whose Book is it Anyway?: A View from elsewhere on publishing, copyright and creativity
No full textWhose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether.
The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light.
Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing
Book review: iMedia: the gendering of objects, environments and smart materials by Sarah Kember
No full textiMedia: The Gendering of Objects, Environments and Smart Materials examines the relationship between gender and current and future media technologies. Drawing on science and technology studies, new media theories and feminist epistemology, Sarah Kember suggests that existing theorisations of smart objects have tended to be shaped by disembodied knowledge practices that are implicitly or explicitly masculinist in their approach. Younes Saramifar finds this a challenging, rich and imaginatively articulated book
"Notes Towards a Feminist Futurist Manifesto"
No full textCuratorial note from Digital Pedagogy in the Humanities: Sarah Kember marks the moment for the launch of Ada: A Journal of Gender, New Media, and Technology by unsettling readers who might think existing scholarship has exhausted “the complex relation between technology, politics[,] and the social.” Taking gender as one axis in a multidimensional rendering of “a future that isn’t (and never was) all about technology,” the article returns issues of desire, intelligence, consciousness, and objecthood to the agenda of humanistic inquiry. It raises questions that would occasion lively debate during any course or module on gender, knowledge production, or subjectivity: To what ends do we submit ourselves to emergent surveillance practices? How are the priorities of academic journals shaped by attitudes toward technology and the mediation of scholarly persona? Kember also models the manifesto as a form amenable to presenting a synopsis of the movement from previous to current intellectual colloquies and outlining distinct points for elaboration through further inquiry, a task that can be uniquely instructive for graduate students learning how to articulate the main concerns within a field of scholarship
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