about the book: The Urban Screens Reader is the first book to focus entirely on the topic of urban screens. In assembling contributions from a range of leading theorists, in conjunction with a series of case studies dealing with artists’ projects and screen operators’ and curators’ experiences, the reader offers a rich resource for those interested in the intersections between digital media, cultural practices and urban space.
Urban Screens have emerged as a key site in contemporary struggles over public culture and public space. They form a strategic junction in debates over the relation between technological innovation, the digital economy, and the formation of new cultural practices in contemporary cities. How should we conceptualize public participation in relation to urban screens? Are ‘the public’ citizens, consumers, producers, or something else? Where is the public located? When a screen is erected in public space, who has access to it and control over it? What are the appropriate forms of urban planning, design and governance? How do urban screens affect cultural experiences?
contributors: Simone Arcagni, Alice Arnold, Giselle Beiguelman, Liliana Bounegru, Kate Brennan, Andreas Broeckmann, Uta Caspary, Sean Cubitt, Annet Dekker, Jason Eppink, Ava Fatah gen. Schieck, Mike Gibbons, M. Hank Haeusler, Bart Hoeve, Erkki Huhtamo, Karen Lancel, Hermen Maat, Meredith Martin, Scott McQuire, Julia Nevárez, Sabine Niederer, Shirley Niemans, Nikos Papastergiadis, Soh Yeong Roh, Saskia Sassen, Leon van Schaik, Jan Schuijren, Audrey Yue.
colophon: Editors: Scott McQuire, Meredith Martin and Sabine Niederer. Editorial Assistance: Geert Lovink and Elena Tiis. Copy Editing: Michael Dieter and Isabelle de Solier. Design: Katja van Stiphout, Printer: Raamwerken Printing & Design, Enkhuizen, Publisher: Institute of Network Cultures, Amsterdam 2009. Supported by: the Dutch Ministry of Education, Culture and Science in collaboration with Virtueel Platform, the Faculty of Arts, University of Melbourne, the School for Communication and Design at the Amsterdam University of Applied Sciences, MediaLAB Amsterdam and the International Urban Screens Association. The editors would also like to acknowledge the assistance of the Australian Research Council LP0989302 in supporting this research.
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