Changescapes - an introduction -- Aqueous aesthetics -- The rise of multimedia systems -- Complex dynamics disciplines -- The known world -- Attunement and agility -- Camouflage and changefulness -- Narrative hunger - geographical information systems, google street view and the colonial prospectus -- Wayfaring strangers: artistic investigations of the mood of dark tourism in online mapping -- Ghosts of a better tomorrow: the volatile formalism of 1980s film workshop productions in Hong Kong -- Cast against type -- What the (...) eye can hear -- A forest. A clearing. -- Motility -- Deep water time. (shrink)

This chapter begins with a study of Fereydoun Hoveyda’s essay called “Sunspots” that describes the dynamics of cinema and the way one feels when attending it. It explains how cinema defines how modern time is known by man, how memory and desire provide qualities to known space, and how cinema itself shapes man’s encounter with place and landscape. Cinema, according to Hoveyda, captures and channels a constantly unfolding force that runs through the represented spaces and temporal rhythms of a film (...) and also through the audience in the dark room. This is when cinema works best, where it pulsates with energy; when the animus of a scene arcs like electricity from moment to moment, from screen to audience, and then back again. This energy emanating from the cinema screen is as vital as that of the sun’s, hence the name “Sunspots.”. (shrink)

This article considers how networked large urban screens can act as a platform for the creation of an experimental transnational public sphere. It takes as a case study a specific Australia-Korea cultural event that linked large screens in Federation Square, Melbourne, and Tomorrow City, Incheon,1through the presentation of SMS-based interactive media art works. The article combines theoretical analyses of global citizenship, mobility, digital technologies, and networked public space with empirical analyses of audience response research data collected during the screen event. (...) The central argument is that large public screens can offer a strategic site for examining transformations in the constitution of public agency in a digitized, globalized environment. The idea of ‘aesthetic cosmopolitanism’ is finally proposed as a conceptual framework for understanding how new forms of transnational public agency in mediated public spaces might operate. (shrink)