We would like to question the notion of newness associated with the apparatus in order reflect on the processes of integration of an invention to institutionalised artistic practices. In our view, a technology—whether new or old—only has novelty value to the extent that its relation with the represented object is opaque or transparent. In the manner of Bolter and Grusin, and of Gunning, we consider an emerging medium goes through a phase of opacity during which its materiality is so visible that it can literally obstruct its content. On the other hand, with increasing competency of viewers, the opacity of the medium diminishes, giving way to increasing transparency and to more space for content.

We invite contributions that return to the founding texts of authors such as Vannevar Bush, Douglas Engelbart, Alan Kay, Brenda Laurel, Janet Murray, Ted Nelson or Lev Manovich. Do digital media really give additionally inventive capabilities to literature, cinema, and other arts? Is this device just a simple improvement or could it be considered a medium of its own? We would like to propose new avenues of reflection on the following:

The idea that we have of new media, new media as apparatus Intermediality, interartialité, the promises of total works of art (Gesamtkunstwerk)
Concepts (or promises of) interactivity, immersion, enhanced reality, etc.

Submission deadlines: