DigitalCritic

I’m a bit behind in mentioning the talk I gave at Birkbeck last week as part of the ‘Doing Research Amongst Technologies’ postgraduate workshop series and Birkbeck Arts Week. The workshop I was involved with was called ‘Creative Research Online’ and it was organised by Sophie Hope, Lorraine Lim and Scott Rogers and also featured a great talk by Ele Carpenter.

I talked mainly about the ways in which I investigate the online arts realm. For example I referenced my work in addressing how social media can be used to research and network as well as at the distinct field of online arts knowledge and the types of emergent activity it supports. I also made a whistle-stop tour of a range of online arts resources which can support all manner of arts research.

I was really excited to be a part of the workshop series because it’s a really good way of helping researchers build a valuable toolbox for their practice. I wish there had been more of this around when I was doing my PhD, it would have been so useful!

My blog post for the Guardian Higher Education Network is out now. In it, I describe where the idea for PhD2Published came from and, in line with our regular tips features, I offer five bits of advice I’ve learnt along my own publishing journey. The article starts:

“At heart, I’m a digital researcher, often overly evangelical about the benefits of freely sharing information online. In head, however, I recognise publishing books remains an integral part of academia. After my PhD, I realised I’d need to discover how on earth I might get a book published in an increasingly competitive market – not to mention find a way of reconciling these, the yin and yang of my academic being.”

Meanwhile, in one of tips (that focus on the business aspects of academic publishing) I say:

“Think about your market – If you want to end up with a printed book published by a reputable academic press, you will need to make a case for its economic viability. This means market research. Don’t just tell your publisher the book would appeal to course X, Y and Z, tell them why. What exactly does it do that other books in the field don’t? How will it transform teaching in this area? Why will course managers make students read your book over the others on their list? Show the publisher there’s a really good chance your book will sell – preferably in decent numbers.”

To read the full article and add your own comments, head over to the site now. I’d really like to know what you think early-career academics need to know about publishing in this day and age. And don’t forget to join the Guardian Higher Education Network and be a part of this valuable new community.

The UK digital arts community is still reeling from the recent ACE cuts to its thriving and world class sector. In a bid to move forwards, we are openly debating the way policy-makers and funders regard the digital, and asking why so many of its valued core features appear to have been over-looked of late. As part of this, a letter to ACE has been collectively drafted and features a petition with over five hundred signatures of those wanting a little clarification on whether the digital is seen primarily as an audience development tool, and not the driver of innovation and new practice that it has always been. The letter states:

“This letter, jointly drafted by a constituency of organisations, artists and practitioners who have been engaged in digital arts development in England, concerns digital culture and its importance to the wider UK arts ecology and economy. We the undersigned believe that clear national policies need to be developed to ensure that the UK can remain at the forefront of digital culture, globally, and that these must take account of the key role creative practices play in driving digital innovation.

Whilst we appreciate that digital technologies have created exciting opportunities to engage with audiences, and to disseminate and distribute arts programmes in new ways, it is critical that funders and policy-makers understand that this is not the extent of digital culture. If we are to make the most of the digital opportunity, it needs to be recognised at a national policy level that digital culture is about more than extending the reach of existing arts practices. It is about entirely new forms of production, expression, practice and critical reflection that digital technologies have made possible.

We are concerned about the place of art, creative practice, criticality and risk-taking in current and future funding policies.”

Of course I’ve signed it and I fully back the quest for answers. I got into the Digital arts field precisely because it takes risks and critiques (digital) cultural norms. It’s a fantastically prolific and powerful arena which – particularly in the UK – has been redefining creative practice and presentation for some years. The fact that some of the very pioneers who directly inspired and supported our now thriving digital economy have had their ACE funding cut by up to 100% (despite their ongoing innovative and experimental work) is frightening.

If you’d like to be involved in the on-going discussions, join the AceDigitalUnCut Google group now!

I’m so behind on sharing cool stuff that this amazing project has sat on my desk top for weeks. To say I love Jeff Koons Must Die with all my balloon-dog-heart would be an understatement.

<p>Jeff Koons Must Die!!! The Video Game from Hunter Jonakin on Vimeo.</p>

I mean, what’s not to give up your Popple collection for?! It’s a an 80s-style arcade game where you get locked in a Jeff Koons retrospective and have the chance to explode some of his key pieces. Adding to its fabulousness is the fact the game is unwinnable. Jeff Koons and his high art cronies will always vanquish the protagonist, alluding to the power of the mainstream commercial art world.