SCAN: Journal of Media Arts Culture

SCAN: Journal of Media Arts Culture
Vol 8 Number 2 November 2010 - Fashion Media

Vol 7 Number 1 April 2010 - Digital Sonimage
Viewing Time
Kate Mondloch
Vol 6 Number 3 December 2009 - Authorship and the Documentary
Vol 6 Number 2 September 2009 - Sound.Music.Design
Captured Space
Philip Samartzis
Vol 6 Number 1 June 2009 - Reading Between the Panels (Part II)
Vol 5 Number 3 December 2008 - Biopolitics of the senses: touch, sound and embodied being
Critical Dialogues 1
David Chapman and Louise K. Wilson, with Anne Cranny-Francis
Vol 5 Number 2 September 2008 - Reading Between the Panels (Part I)

Vol 5 Number 1 May 2008 - Screenscapes Past Present Future
Vol 4 Number 3 December 2007 - Mobile Media/Public Spaces
Vol 4 Number 2 August 2007 - Film as Philosophy
Vol 4 Number 1 April 2007 - e-Performance: Post-disciplinary contexts and theorisation
Performing the Network
Maria Miranda and Norie Neumark
Vol 3 Number 3 December 2006 - Technological Interventions
Cyber Disobedience: Gandhian Cyberpunks
Cynthia Townley & Mitch Parsell
Vol 3 Number 2 October 2006 - Cinematic Scriptwriting
Vol 3 Number 1 June 2006 - News and the Net: Convergences and Divergences
Vol 2 Number 3 December 2005 - Shadows of the Dead: Mediating the Archive Photograph
Vol 2 Number 2 September 2005 - Memory, Media, and Embodied Cognition
Vol 2 Number 1 April 2005 - "The Glittering Tart": Imaging Sydney
SYD: the city as airport
Gillian Fuller & Ross Rudesch Harley
Blue Murder: a RE-IMAGINED history
Greg Levine & Stephen McElhinney
Vol 1 Number 3 November 2004 - BODILY (Trans)Formations
This paper examines new cultural practices and modes of organization in post-Soviet Russia.
This paper critically engages with the ways in which so-called cosmetic procedures and the subjects who undergoe them are problematized.
This series of works by Paddy Hartley explores the notion of impressionable flesh.
This paper is an attempt to investigate the effects of cultural narratives of monstrosity.
This paper is concerned with a range of questions surrounding and informing current conceptions of and responses to self-demand amputation.
This paper sets out to elaborate an alternative framework for rethinking sexual subjectivity, and in particular its relation to notions of 'disability'.
This paper makes a critical intervention into the marketing, use, and effects of sex drugs.
This paper explores the role of memory in the constitution of identity.
This paper provides an account of the role of pain in the process of (un)becoming.
Vol 1 Number 2 June 2004 - Ghost & Their Machines: Magic, Technology and the Uncanny
This paper addresses rituals in Madagascar, engaging in an open dialogue with cultural practices involving ghosts and magic.
An anthropological exploration of alternative conceptualisations of objectivity and things, focusing on objects considered uncanny.
An examination of the response of scientific discourse when it is confronted by evidence of supernatural phenomena.
A study of the uncanny properties attributed to electricity and electric lighting in early Modernity.
This paper details several illusionist magic practices of the early 20th century, and their legacy for the experience of spatiality.
Technology and Magick
Steve Collins
This paper reports on the contemporary practice of Chaos Magic, which fuses quantum physics, magic rites and computers.
Vol 1 Number 1 January 2004 - Ludic Moments
This paper examines the texts and practices of first-person shooter (FPS) computer games, and the development of an online multiplayer community that is highly social and self-regulating.
This paper considers the experience provided in the First person Shooter as a ludic variant of the logistical tendency to anticipate the future by means of modelling and simulation.
Cybergames are currently the site of more capital investment and more real-time cognitive activity than any other form of mass entertainment, but it does not follow that players automatically become capitalism's drones. This study of specific games argues that they emerge in and through what Edward Soja calls 
If cinema audiences relate to the screen as a gaze, and television viewers with a glance, what is the equivalent regime of vision for players of console games? It's not the glance, nor the gaze, but the glaze: immersive, sticky and reflective.
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