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New Media Art and the South African Social
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New Media Art and the South African Social

A special issue of Arts (ISSN 2076-0752). This special issue belongs to the section "Film and New Media".

Deadline for manuscript submissions: closed (16 November 2018)

Special Issue Editor

Dr. Kurt Campbell

E-Mail Website
Guest Editor
Michaelis School of Fine Art, University of Cape Town, Cape Town 8001, South Africa
Interests: new media; experimental typography; contemporary South African fine art; interactivity and critical theory of technology in Africa

Special Issue Information

Dear Colleagues,

New Media technologies are firmly established in the various worlds that constitute contemporary visual art practice in South Africa. This Special Issue seeks to foreground how artistic production in South Africa has exploited the possibilities New Media offer, so as to give rise to new ways of seeing the social, or else challenge, aspects of the existing order of being.

Video and Image Manipulation Software; Computer Aided Design and Manufacture; the World Wide Web; Experimental Text; Interactive Systems; Digital Audio and Physical Computing have thus all assisted in creating bodies of divergent art that form questions related to race and identity; afro-futurism; historical memory; gender; violence; nationalism; environmentalism; migration; globalization and colonization to name but a few of the most urgent and intriguing themes.

As a consequence of this productive moment we invite scholars from a broad range of disciplinary homes to consider the work of New Media artists (expansively conceived) that are critically directed to the South African Social with the emphasis of the submission not focused on the exclusive understanding of the technical aspects of the tools used by artists in the process of creating, but rather how these new tools bring the intellectual news of their users to our door.

Dr. Kurt Campbell
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • new media
  • media culture
  • contemporary visual art
  • South Africa
  • society

Published Papers (2 papers)

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Research

14 pages, 3876 KiB  
Article
Typographic Reification: Instantiations from the Lucy Lloyd Archive and Contemporary Typefaces from Southern Africa
by Kurt Campbell
Arts 2019, 8(2), 51; https://doi.org/10.3390/arts8020051 - 11 Apr 2019
Viewed by 3654
Abstract
This paper argues that we may read the images from the Lucy Lloyd archive of ancient Khoe and San symbols, drawings and pictograms in a special way that offers an intellectual seriousness to these collaborative picture-word creations that attempted to hold certain faunal [...] Read more.
This paper argues that we may read the images from the Lucy Lloyd archive of ancient Khoe and San symbols, drawings and pictograms in a special way that offers an intellectual seriousness to these collaborative picture-word creations that attempted to hold certain faunal and floral knowledge and descriptions from the South African landscape on the transcriber’s page. By foregrounding moments of textual innovation as is evident in the Lloyd archive, I make a case for what that I term ‘typographic reification’. This ‘reification’ is the fulcrum of the ancient drive of the indigenous people of Southern Africa (the Khoe and the San) to offer an excess beyond the translation of their world into a Roman alphabet (the given form) by linguists that came with this aim in mind. Contemporary advances in New Media technology allow this very element of typographic reification (observed in textual and graphic elements recorded on pages of sketchbooks and notebooks from the Lloyd archive) to be offered anew to an international public through the digital typefaces of the South African designer Jan Erasmus who similarly draws his natural environment into the very fabric of his creations. The parallels visible between the innovative methods of transcription and picture-word creations of Lloyd and her Khoe and San collaborators on the one hand, and the digital creation of Erasmus on the other, serve to amplify a conceptual agility that must be celebrated in the South African social imagination as an intellectual bridge between different spaces and times that is a contribution to African philology and a critical history of the text. Full article
(This article belongs to the Special Issue New Media Art and the South African Social)
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10 pages, 4951 KiB  
Article
Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings
by Derilene (Dee) Marco
Arts 2018, 7(4), 85; https://doi.org/10.3390/arts7040085 - 21 Nov 2018
Cited by 2 | Viewed by 12381
Abstract
This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting [...] Read more.
This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting ways. The essay uses conceptual lenses from diaspora studies, Afro science fiction and Black feminist studies to critically engage the film and to critically question the notion of Black exceptionalism. Full article
(This article belongs to the Special Issue New Media Art and the South African Social)
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