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Log In Sign Up. Unfollow Follow Unblock. Other Affiliations:. My interests lie in exploring the history of the language and ideas addressed to Byzantine Art.

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A number of monograp A number of monographs and collaborative studies have been devoted to these interests. Save to Library. Neophytus Prodromenus on Epigraphy more. Greek Epigraphy , Byzantine Studies , and Byzantine art.

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Art and Understanding in Eleventh-Century Byzantium

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  6. Western technologies have long been caught up in the progress narrative overtly promoted as icons of modernity, newness, and futurity. At different historical periods, artifacts such as the clock, the steam engine, and, more recendy, the computer have been taken up as metaphors defining humanness and culture.

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    Advertising rhetoric that describes new products as "revolutionary" can reinforce the idea that technological change automatically brings about social "revolutions," ending domination rather than as is more usually the case allowing it to alter its sites and forms. The historical awareness that decisions about technologies are made by particular social actors on the basis of particular interests— often business and military ones—is frequently eclipsed by a technological determinist perspective emphasizing machines as agents of social and historical change, with their own evolutionary powers.

    Successive generations of ever "smarter" tools are heralded as manifestations of the future today, to which "we" can do nothing but acquiesce. Collapsed futurity is also discernible on the posts left, which has successively lost faith in socialism and utopian thought. In a essay, Marxist cultural critic Fredric Jameson proclaimed that "the past is dead" and that while "the future My suggestion is that although past and future may be of little interest to disenchanted veterans of the new left, both history and futurity are very much alive and contested by members of the newer social movements such as feminism, environmentalism, and land rights.

    For many women artists working with digital media, the body's physicality is not transcended or obsolesced by technology; rather, it is a source of poetic efforts to at once use and counteract the machine's own anti-body logics by using it as a medium to explore organic or visceral forms.

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    Women artists interviewed for Artists in Cyberculture included German artist Ulrike Gabriel discussing her computer-mediated installation Breath , where images and sounds changed according to a breath monitor worn by the participant. Gabriel made the point that the work was not transcendent but was tied to the specific limitations of the body's energies and the aesthetic parameters coded into the machine: "You can't get out of your body; it can't get out of the [aesthetic] system, but still a lot can happen.

    Whereas Davies and Search counter the computer's biases with an aesthetic of organic beauty, some Australian women artists have adopted an anti aesthetic of viscera and abjection. Melbourne-based computer image maker Linda Dement has articulated her desire to "put some guts into the machine" and describes her enjoyment of the way computer scanning allows the use of objects as "paint" in combination with "inward-looking" autobiographical narrative explorations of "brutality, violence, madness" as well as beauty, desire and pleasure, exemplified in her work Typhoid Mary Dement's images often feature detached organs, anatomical dissections, and medical images that are arranged in formal compositions with a strong decorative emphasis on layered images and textured surfaces.

    In a catalog note for the Tekno Viscera exhibition of women's electronic art and performance in Brisbane , Jo Frare and Vicky Sowry vividly summed up the feminist interest of "putting some guts into the machine":. Given the obsession of many new technology applications for example, video games and VR systems with the female body, it is not surprising that feminist artists are rewiring the network so that these technologies become receptacles for abject female excess—for that which is subversive in gendered difference.

    My conclusion then is simple: theorists, critics, art lovers, and art makers need to learn to listen to the diversity of voices and visions expressed in technological media and develop more appropriate frameworks in which to appreciate artistic works that do not merely reproduce or celebrate machine logics such as algorithms creating electronic wallpaper but actively challenge and pervert them and the futures they imply.

    Otherwise, we risk not only misunderstanding specific artworks but also reducing their potential effectiveness as alternatives to the specters of monolithic futurelessness and a posthuman world. In such a world, art itself could lose all meaning, for poetic strivings to remember and embody past experiences, to critically reflect on present situations, and to shape imagined and future worlds would all be eclipsed by the overshadowing machines to which our historically transformative and evolutionary powers would have been ceded.

    I hope that this chapter, by focusing interest on works by contemporary women technological artists, contributes to their success in shaping alternative futures that do not simply intensify the powers of the already strong but enlarge the influence of the values and interests of those not satisfied by the pursuit of the new as a good—or even a god— in itself.

    This chapter draws on collaborative research with Virginia Barratt on Double Agents, a study of women technological artists currently underway with gratefully acknowledged assistance from the Australian Network for Arts and Technology ANAT , the Australia Council, and Murdoch University.

    Barratt conducted the interviews with Moira Corby and Anna Sabiel quoted here.