Convergence: The International

Journal of Research into New Media

Technologies
http://con.sagepub.com

Techno Tolerances and Cultural Ambiguity: An Overview of the Creativity and

Consumption Conference
David I. Tafler
Convergence 2000; 6; 8
DOI: 10.1177/135485650000600102
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Techno Tolerances and Cultural

Ambiguity
An Overview of the

Creativity and

Consumption Conference
University of Luton, UK, 29-31

1
March 1999

David I. Tafler

Reflecting

on

computers, creativity and consumption

At the end of the

millennium, electronic medias potential to push human

dimension captures the imagination. As fast
as the technology evolves, a growing impatience to realise even more
of the future drives new media projects and new interactive
applications, which, in turn, impact on individual identity and alter the
concepts of community. In that looming cyberspace, the individual
acquires some ability to shape his or her virtual identity, his or her
virtual reality (VR) within a given environment, in time and space.
interaction into

some new

On that

journey, computers, a mixed blessing, simultaneously open up

possibilities and setup constraints in the spectators relationship with the
community. On the upside, the computer manages multiple portals that
provide an overview, allow for fluent and rapid browsing, and render
an instant map of the trodden path. On the downside, computers also
limit users to anticipated and predetermined operations. As computers
continue to evolve, they will continue to alternately empower and
confine their

users.

Richard Walker claims that the computer itself breeds a form of

surrogate relationship with its user that differs markedly from other
relationships such as that between viewers and their television sets.
When computers extend the parameters of common tools such as the
hammer, screwdriver, typewriter or drill, their transformation invests their
possession as agents of personal empowerment. These tools make their
users more knowledgeable, successful, more efficient in how they use
their time. Since digital operations remain opaque and inaccessible,
digital tool proliferation increases the fascination with its offshoots,
cyberspace and VR. This techno-fascination inflates the utopian zeal for
a world beyond traditional economic and social values.

- Like two signposts in

the sand, the

terms

creativity and consumption

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mark a broad set of conceptual boundaries for mapping out this

expanding territory and for identifying the latent constraints that new
media technology will inevitably exercise over individual experience.
Unravelling the myriad possibilities and ramifications of new technology
for the media, the arts, and the so-called information revolution, the
user, producer, dreamer, theorist navigate the unprecedented changes.
In turn, they fuel their own initiatives which transform economic and
cultural practices. At various pragmatic junctures within this cultural
economy, the debate rages: will the new media environment expand
human consciousness or will it simply add to the layers of activity
comprising human industry. Issues of control, freedom, obligation,
location intertwine like a matrix of M6bius strips.
In an essay titled The Demon of Originality, art historian Roger
Shattuck argues that creativity forms a part of the same manic
foundation that drives a growth economy. Limitless growth leads to
dire problems from recession and depression to great devastation. The
term creativity ifiself embraces an array of romantic notions. For many,
it implies a magic moment in the everyday spectrum of events, the
moment of the unanticipated synapse, a state of scientific revolution and
cultural enlightenment. On an artistic level, creativity includes the
element of chance. As one delegate at Creativity and Consumption
remarked: If you have one idea in life, youre lucky. If you have two,
you

are a

genius.

Creativity revolves around the empowerment of the individual. As the

population increases and the economy grows, new technology promises
limitless new space and freedom or, at the very least, salvation from its
encroachment. On

a less optimistic note, Yoko Kanemitsu

media reaffirm the codes established within old social
relations and cultural forms.4 In their time, older cultural practices
transcended the apparent limitations of their own craft. New media
follow the same fast path as their predecessors. Engineers will make
decisions that will affect future social and cultural practices. And David
Morrison, Michael Svennevig and Julie Firmstone argue that new
technologys impact on older forms of recent technology, in other words
television viewing, does not displace other forms of social activity.
These activities overlap, intersect, and converge.

severe

argues that

new

The emphasis on the individual and his or her freedom, however,

diminishes dramatically in a postmodern world. Fred McVittie has
described how the fevered workings of muse-driven minds now yields
to structural processes involving social and cultural institutions that shape
the languagewhile Adrian Page explores the rules governing the use of
linguistic signs. Language with its limitless combinations inhabits a broad
terrain of possibility. Routine behaviour favours a more limited number of
predictable combinations. Departing from these conventions generates

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10

other labels: abstract, weird, avant-garde, or antisocial.

McVittie uses ecological paradigms to anticipate how contemporary
developments in technology will alter the flow of information and the
acquisition of knowledge. Corrupt theories cannot resist new ideas.
Stronger paradigms absorb aberrant views. Categorically, he
distinguishes between embodied knowledge (marketing of goods and
ideas) and disembodied knowledge, art. McVittie argues that certain
aspects of the system itself resist cultural determination.

Creativity, therefore, stretches the boundaries. Linda Candy has talked

about collective creativity as something contingent on peoples
interaction with external knowledge, mediated by activities that take
place in an interactive social context. She categorises these different
forms of interaction and labels them: co-operative, collaborative,
catalytic, contrapuntal, and symbiotic. Each measures the respective
partys control, goals, support, transformation, and overall dependence.
When creativity implies the satiation of human desire, the wholesale
production and distribution of ideas and goods, it becomes
consumption. Dependent on strong growth with intermittent correction
(recession) cycles, consumption accommodates the increasing demand,
the petulant desire, the flight from boredom, and escape from meaning
driven by the ever-increasing numbers of people, jobs, goods. With
concurrent advances in transportation and communication shrinking the
globe, a growing corporate hegemony drowns out other cultures, now
circumscribed with their unique subject positions and methods of
accommodation.
A lot of slippage exists
many issues and in the

along the creativity-consumption axis in the

myriad approaches to exploring these issues.
That became apparent at the Creativity and Consumption conference
held in March 1999, organised by the editors of Convergence and the
University of Lutons Department of Media Arts. Unifying a diversity of
papers, topics, and concerns, the latent question pondered was whether
individuals buzzing about the electronic hive could still maintain some
identity and effect cultural change within a prevailing social-economic
environment. Regardless, the whole of their combined activity and their
resultant industry remains greater than any individual or group identity.
As movements break away from their origins, complex notions such as
creativity, depart from the logical coherence of any sense-making
process.

Creativity and
consumption:
mediating entities

Situated in an old industrial satellite town outside London, the

conference resonated as a venue for talking about new technology and
new media. The town of Luton, in the process of reinventing its identity
through its university and cultural institutions, provided an historic
crossroads where a wide variety of postindustrial concerns could

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11

intersect and bump about. At the conference reception, held at

artezium arts and media centre, a renovated downtown venue, the

Mayor of Luton affirmed the towns robust expectations for the technofuture The Mayor emphasised renewal, the recuperation of the town
from its industrial demise in anticipation of the electronic future. As
nascent powers at the turn of the century looked to industry for
empowerment, old industrial cities find their salvation somewhere on the
digital horizon.
The following morning the academic sessions began and the scope
broadened. In his keynote address, Philip Hayward defined another set
of parameters from those implied by the demise and rebirth of old
industrial cities. He addressed global tectonics - the melodies of
resistance and accommodation in other settings. In describing how
cultural technological issues look from somewhere else, Hayward
cautioned how assumed boundaries quickly become moribund.
Reaching beyond the conference assemblage, mostly white fellas
hanging out in the mother country, he suggested that on a deflated
globe, theorists in the first world should not forget the other world, the
non-western world, a world embodied by its own myths and storytelling.
That world also has fewer resources, a world of limited electricity, let
alone digital resources.
Even in that other environment, utopian ambitions can forge a virtual
distortion of the real world. Malaysias multimedia super corridor offers
a parable of the IT revolution. lndrajit Banerjee described how the
Malaysian government is constructing an unprecedented information
infrastructure for this part of the world and yet decries the loss of the
countrys cultural institutions and practices.&dquo;

Looking

at

that other world,

world that

historically privileges oral

along

traditions, situates any investigation of contemporary media arts

a different sort of continuum. Any discussion of culture and
consumption, not to mention creativity, oscillates among multiple
frameworks,
conform

some

strong and

some

social, political,

weak, that do

not

necessarily

economic parameters. Orality,

memory, literacy and postliteracy play out in the different regions, such
as the central desert of Australia and the central Pacific, in different
ways. In equally remote regions, resources differ and the flow of
information and exposure varies markedly. Evaluating the impact of
new media technology calls for a wider array of criteria that adjusts for
this cultural difference, not to mention its social, political, and economic
to common

or

drivers.

broadening of context the conference agenda branched out in

different directions, exploring an array of theoretical topics revolving
around the (m)use and meaning of digital media products and their
With that

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12

mandates, weighing the respective influence of grass-roots

control versus the tightly defined network of data, software and
hardware switching systems. Assessing the impact of the latest formats
whether they lie on CD-ROMs or on DVDs suggests looking at other
radical advances in communication technology and their effects.
Looking back several centuries, writing, paper, and the printing press
impacted on the production of information and access to it. In this
world, CD-ROMS supplant other social processes and their attendant
traditions which include songs, dances, costumes. CD-ROMs, DVDs,
not to mention photographs and film, become repositories for recording
cultural experience. At the same time, they accelerate its
disappearance. Above all, satellite discourse blends the global
cacophony of voices and images within a medium weighted by western
gravitational forces. With dense networks of credit cards, ATMs,
cellular telephones, identity, non-places become quantifiable.
context

In an environment of electronic remediation, new media refashions

older formats. Driven by economic prerogatives, computer graphics,
virtual reality, and the World Wide Web define themselves by
borrowing from and remediating television, film, photography, and
painting as well as print media. In the conferences second keynote
address Jay Bolter described that migration and identified its two
representative strategies - transparent immediacy - which attempts to
conceal its own process, and hypermediacy which conversely calls
attention to itself.&dquo; As preset collections of information move across
digital formats, they squeeze borders, conflate others, collapse global

districts and shift perceptions. Third world countries leapfrog into the IT
age leaving in their wake truncated traditions that forge cultural identity.
Cut off from

feel

tradition, the melodies of resistance and accommodation

if

they have dropped from the sky. More immediately, in his

keynote address, Richard Grusin argued that cyberspace replaces
nature as a mode of understanding. 12 This transcendent information
system reduces the individual to bytes and bits as s/he makes whatever
futile effort to retain a sense of self while connected to surrounding
social nodes. Grusin argued that this technology reforms itself - that
new technology reforms its predecessors.
as

Cyberspace itself poses a problem - a ubiquitous but circumscribed

geophysical yet ethereal time zone. Grusin reduced its aura, a sort of
Christian transcendence, to economic terms: location, location,
location. Electronic networks forge a shopping mall in the ether - a
world of networked information appliances. Meanwhile, other forces
conflict. Electronic networks serve as enabling systems for constructing
translocal rather than global real estate. The frame erfclosing the
desktop provides for an alternative space that resists an homogenous

global strategy.
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13

Caroline Bassett in her paper, The Arc and the Machine, implicitly
challenged this focus on frames and environment. Cultural formation
with cyberspace oscillates between real and fictional moments rather
than real and fictional environments. Narratives universal attributes
open the spacings and crossings of active cultural formation, not the
fixed attributes constructed by some new technology. Narrative forms
an arc across the user-text-machine interface that helps to reconcile the
loss of temporality.

Sailing across this technical tundra, an other world of narrative

possibility, humans continue to lead their lives as viral mucous tropes.

Sally Cloake talked about the architecture of the internet as a chaotic

fluid and relatively more open environment in which women might
stretch the bonds of linear systematised masculine notions of thought. 13
Quite apart from the silicon steriliiy of the hardware, the software virus
contaminates and threatens wholeness and impenetrability. This
instability breaks down distinctions between the self and the other,
between the body and discourse. We dont have bodies; we are
bodies. Each culture reaches an iterative crossing. Oral tradition
succumbs to event journalism. Internet gossip out sources
institutionalised news. The media no longer mediates. As the
multimedia artist searches for a medium, the medium becomes a
chameleon.
If you dont know someone on the other side of the world, why bother
to talk with them. Technology might just as well enhance existing
patterns of living rather than evoking tectonic changes. Unpredictable,
full of surprises, when peoples linear narratives intertwine the
redundancy becomes less discernible on a micro level. Natural
catastrophe, natural decay, the movement of land and body, influences
each personal history. Each becomes a problematic site filled with

trying

uncertainty.
the body stretches to embrace other entities that permit
with slime enhanced memory, faster processing, reservoirs of experience. New
media technology may promote new storage capabilities for valuable
cultural material. Clare Birdsey, Andy Golding and Ralph Jacobson in
The Suitability of Employing Digital Technology for Accessing
Photographic Collections argued that the enhanced storage of
information and experience, not to mention archival materials
mediation by new formats, informs the process of its reception. In turn,
high quality reproductions augment research practices. Digital media

Infecting systems Pragmatically,

pumps

new

life into the academic enterprise.

On another

level, cyberspace (the cyb-urb) opens discourse to include

dispossessed to escape from a process of social and cultural
exclusion. Jacques Ibanez Bueno provided an overview of the Centre
the

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14

International de Cr6ations effort which tries through a citizens site to

provide a forum for disenfranchised inner-city young people.14 He cited
the emergence of new digital codes across these communication forums.
Nevertheless, they still pass through socio-cultural filters managed by
institutional outsiders. Wendy Dibean and Bruce Garrison discussed online newspapers,&dquo; while Suzanne Buckley assessed electronic mail use
in media&dquo; and Blu Tirohl talked about how digital media transforms
press photography into computerised
transforming images.&dquo;

environments for

controlling

and

Networks create new opportunities for forging a spiritual pilgrimage

along electronic pathways. They reconstruct communities with their new
cyber-rituals, virtual ethics and religious shrines. Heidi Camtbell, in her
paper &dquo;Gimme that on-line religion&dquo;: Spiritual Pilgrimage On-line and
Implications for the Culture of Religion, explained that today an
ethereal pathway supports the imaginary in the same ways that
cathedrals have fortified the power of the spirit in the past. The web
becomes another pilgrimage site, a territory for the pursuit of meaning
in a postmodern world. On the other hand, these techno-platforms
provide another means of penetration for the old time religions.
Camptell describes the individual caught in this abyss oscillating
between his or her solitude and his or her place as part of a larger
religious group or collective. Sitting all alone within the cathedral, in
the digital age that cathedral becomes available through the computer
which penetrates the home and/or office environment. The individual
remains linked in a sort of quasi-isolation, now disembodied by the
screen.

Border culture Collective creativity revolves around social interaction. Computers bear
new implications for interactive processes that go beyond the produceruser screen interface. Geoff Cox and Mark Phillips revisited the place
of the implied author in electronic systems.&dquo; Their Autoicon project
looks at deferred authorship, auto-generative opportunities, made
possible by ruthless robotics and other machine practices. Within the
artwork, a self-referential awareness of the means of production
becomes part of the mechanism. It helps construct the author. In the
digital age, this means foregrounding programming as well as other
operational functions.

--~

Along the intermediate margins between the producer and the user,
Lorne Falk mapped out those interrelations on the archipelago of a
digital information age.9 Falk likens the computer interface to a
colossal, two-sided, mirror-like screen, itself dislocated by cultural
confrontation. In a different context Sean Bradbury suggested that the
computer can inform and enlighten, forming a partnership with the
producer during the creative process.2o Woven together with the
producers intuition and sensitivity, the computers output can broaden
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15

of the real remains pervasive, its

immediate
transmitted voices, and immaterial space.

the scope of the text. While

expression, intelligence, and
senses,

reshaped as

now

a sense

personality transcend the

The internet disembodies identity. In The Last Territory: The identity of

the Body and the Internet, Bojana Kunst argued that the net challenges
corporeal boundaries. Knowledge evolves from a collective reservoir;
meaning relies on the communitys recognition of certain conditions, of
certain absolutes. Therefore, memory lies beyond ones head. To the
extent that the internet has fewer defined borders than a book, or the
library which houses it, one might believe that wandering through the
web disassembles the boundaries of the body, of identity. Mark Dawes
Scanning the City project seems to re-invent the process of marking
identity by locating ones place among the cultural artefacts of a city.&dquo;
Children serve as the most fertile terrain for implanting these
experiences within a new media format.
The quest for

an

imaginary body oscillates back and forth between

phenomenological and rationalist ways of looking at the world. The &dquo;old

body, tied to landscape and time, disappears in a world of jet travel and
electronic communication moving at the speed of light. People can carry
on real-time conversations separated by half the globe without any form
of physiological contact, without even hearing the simulated sound of
someones voice. In her paper, Kunst recuperates the notion of body as
system. Here the internet does not transcend
it reconstructs, maybe even reinvents, the image.
Rather,
bodily presence.
Remember, presence always emerges from the latent characteristics of the
referential object or person. The body, no longer a lost territory, becomes

sign, discourse,

information

semiotic

constantly worked over and reproduced.

Heidi

Gilpin speculates on new media technologys excavation and

reconstruction of body and Self.22 Using digital performance corrupts
the subject. A rescue from this tautology depends on the boundaries
between body knowledge and external structuring systems. Graham
McBeath picked up on this theme in his paper, Avatar Ethics. The
avatar, the

digital transubstantiation of self, a non-corporeal self,

dream. If programming can become so advanced that it
allows each user a larger measure of programmatic independence, then
cyborg life becomes a real possibility. But does the distinction between
man and machine really matter? With the machine integrated in every
aspect of daily existence from life support to transportation, humans
become increasingly cyborg and machines indistinguishable from other
aspects of human identity. Even human memory flows from external
reservoirs. Few oral cultures survive as oral cultures.
remains

programmed interfaces develop some level of self-motivated learning

- and mutation (not to mention reproduction), other ethical concerns
If

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16

compound

the

environment.

relationship that humans have with their cyber

Absorption into the cyberspatial matrix transcends

worrying about the borders between

McBeath argues that

consciousness and the flesh.

profound digital worlds demand more

developed analogical characters without direct links with distinct
individuals. Each avatar might collate an amalgam of behavioural
traits from a range of sources. In a postapocalyptic future where
identity ceases to have any traditional meaning, cultural production
undergoes a transition. Audience shifts might mean that the
more

consumption of media

moves

from

passive

to a creative

activity

As part of the shift in

technologies, Adrian Page suggested that new

will acquire a multiliteracy, an ability to appreciate novel
relationships and to see how meaning emerges .2 The old author
yields to the new matrix of invention - a collaboration between the
creator and the reader, the producer and the consumer.
users

Engines: Artificial Life and the Edge of Art Mitchell

argued that the systems themselves regenerate within a
persistent cycle of desire and variation, inseparable from the people
who design, produce and use these tools. Whitelaw described new
medias transformation of art practices through new tools, new
structures, new codes. New dimensions open up for exploration, for
navigation through a virtual reservoir of information. More importantly,
they open ambiguous categories, an artificial evolutionary process.
Users act as gardeners, tending and cultivating strange crops. It takes
generations to fully explore the underlying structures created by the new
techno-systems. The environment can transform endlessly and precisely
for that reason, simple needs and regimens keep the system in line,
perhaps intact. Individual creativity recedes in the wake of a passive
collaboration. Moving beyond individual identity makes the experience
unintelligible. Footholds constantly spring up from familiar use and
In Metacreative

Whitelaw

turns back on itself self-consumed, as others

the fold. As technology systematises experience, it brings more
and more into a unified nexus which orders and regulates imagination,

experience. The medium

,enter

intuition.

Some groups have an easier time resisting scientific rationality. As

Cloake pointed out, women seem to depart more easily from the
totalling presence of a technologically determined environment.
Perhaps, demystifying technology may lead to different forms of
association and

interaction. Morrison and

Sally

Svennevig
argued
empirical observation to begin to reconstruct
reciprocal influence, shifting tendencies, future trends. This argument
raises some compelling issues: for example, does e-mail merely impact
on letter writing, itself a relatively recent form of correspondence, when
measured against the whole of human history.
expressive

that it takes

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17

Andrea Polli and Georgina Valverde expanded that perspective in their

public art and technology project by exploring how contemporary
communication technology has changed the nature of public interaction
and the notion of public space.25 Using the internet to construct a global
forum stretches the participatory environment. According to Blu Tirohl, this
redistribution of control will impact on the producers vision itself. Digital
image practices make it that much easier to transform photographic work
composed in the field. The veracity of the image breaks down, or the
illusion of its veracity diminishes. When connected with real places,
events, and people, cyberspace, however, still retains a language system
based on historical reference. Hardly a disembodied mobility, the web
grounds discourse structures and organising encounters.
Whereas internet sites that deliver information rely on a transparent,
predictable, and redundant interface, more creative environments
deliberately problematise the interface. Alan Peacock pointed out that
art forms provide a more chaotic, open, divergent and problematic
interchange that engages the user on the level of the interface rather
than with any transmittable data. 16
described how 50 per cent of the
different countries shared common traits.&dquo;
Capturing the interplays and differences among cultures, digital
technology embraces the range of possibilities. Rendering implied time
and space often as history and memory, local images differ from hybrid
and virtual images with the former involving cross fertilisation and the
latter digital origination. Going one step further, Tim Swinglers

Kaye Shumack and Sidney Newton

images collated from

Soundbeam -

six

virtual musical instrument provides a platform for

without any physical conduit. Without an
instrument, making music becomes dance.28 The requisite talent, skill,
and training diminishes.
users

to create music

Matt Locke described new medias transformation of architectural

space.29 At the TEST Digital Research Facility at the Kirklees Media
Centre, UK, the side of the building becomes a screen for public
discourse. Tactical media, an open-source forum of expression, moves
graffiti into speech and deflates the disruptive power of its prolific
inscription. Lucy Kimbells Pager Project maps the economics of sexual
desire in electronic products, services, and venues. 30

Everything in a world of appropriated, scanned images revolves around

in cycles. James Faure Walker argued that the antiseptic conditions
and sheer plasticity of digital media offset the painterly - spontaneity,
speed, and playfulness.3
Beyond the down to earth cultural economics, these expectations nurture
- powerful emotional feelings. The emerging new media environment

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18

expands the possibilities for building resistance within the text. Computers
become vehicles for uplifting and transforming life. Options appear at
newly created decision-making junctures, but for how long? The crucial
interactive difference lies in the networking that exists among computers,
tying them into other areas, enabling them to extend the corporeal
borders of the body to the far reaches of the planet. Just as the matrix of
decision-making possibilities pulls the traditional audience away, new
programs re-institutionalise narrative structures now embedded in new
formats. At the same time, they pull in the information floating in space.
In the end, the technological fix remains one of the mainstays of society.
Notes

1 The abstracts of all papers presented at Creativity and Consumption and the email addresses of all the speakers are available at the conference web site
which can be accessed via the Convergence web site at
Copies of papers other than those
<http://www.luton.ac.uk/Convergence>.
included in this issue of Convergence can be obtained by e-mailing the authors
direct.
2 Richard Walker, Computers as Fetish Objects, paper presented at Creativity
and Consumption.
3 The Demon of Originality, in Roger Shattuck, The Innocent Eye: On Modern
Literature and the Arts (New York: Farrar Straus Giroux, 1984), pp. 62-81.
4 Yoko Kanemitsu, Stereoscopy and Pre-Raphaelitism: The Pre-Raphaelites and
Ruskin in the New Media Age, paper presented at Creativity and Consumption,
and revised for inclusion in this issue of Convergence.
5 David Morrison, Michael Svennevig and Julie Firmstone, A Monkey Looking at
a Watch: Cultural Practice, Technology and Understanding Social Process,
paper presented at Creativity and Consumption, and revised by Morrison and
Svennevig for inclusion in this issue of Convergence.
6 Fred McVittie, Day of the Cockroach. Technology, Counter-Culture, and the
Ecological Paradigm, paper presented at Creativity and Consumption.
7 Adrian Page, Consumed by Creativity. Multiliteracy and New Technology,
paper presented at Creativity and Consumption.
8 Linda Candy, Collective Creativity and Interaction with Computers, paper
presented at Creativity and Consumption.
9 Philip Hayward, Cultural Tectonics, keynote address at Creativity and
Consumption, revised for inclusion in this issue of Convergence.
10 Indrajit Banerjee, Leapfrogging into the IT Age: Prospects and Problems. A Case
Study of the Malaysian Information Infrastructure Initiative, paper presented at
Creativity and Consumption. See also Malaysias Multimedia Super Corridor:
One-Stop Super Shop or Highway to Progress and Prosperity for All?
11

12

13

14

Convergence, 5, no. 3 (Autumn 1999), pp. 106-115.

Jay David Bolter, New Media and the Desire for Immediacy, keynote address
delivered at Creativity and Consumption, and revised for inclusion in this issue
of Convergence.
Richard Grusin, The Cultural Politics of New Media, keynote address delivered
at Creativity ad Consumption, and revised for inclusion in this issue of
Convergence.
Sally Cloake, Replicating Difference: Feminist Subjectivity in Cyberspace, paper
presented at Creativity and Consumption
Jacques Ibanez Bueno, Exploitation of Web Sites by Youth Groups, paper
presented at Creativity and Consumption.

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19
15

How US Daily Newspapers are Using their Internet

Bruce Garrison, On-line Information Use in Newsroom, revised

Wendy Dibean,
Counterparts;

for inclusion in this issue of Convergence.

Buckley, E-mail Use by Newspaper Editors, paper presented at
Creativity and Consumption.
17 Blu Tirohl, Changing News Image Practices, paper presented at Creativity and
16 Suzanne

Consumption.
18 Geoff Cox and Mark
19

Phillips,

Autoicon: The Net Return of the Author

as

Producer, paper presented at Creativity and Consumption.

Lorne Falk, The Ethics of Perception, paper presented at Creativity and
Consumption, and revised for inclusion in this issue of Convergence.

Bradbury, An Alternative to the Human-Machine Interface, paper

presented at Creativity and Consumption.
Mark Dawes, Scanning the City: Exploring Glasgows Urban Fabric in
Educational Multimedia, paper presented at Creativity and Consumption.
Heidi Gilpin, Performing Corporeal Knowledge, paper presented at Creativity

20 Sean
21
22

and

Consumption.

23 Morrison and Svennevig.

24 Adrian Page, Consumed

by Creativity: Multiliteracy and New Technology,

Creativity and Consumption.

Georgina Valverde, The Live Live Project: Public Art and
Technology, paper presented at Creativity and Consumption.
26 Alan Peacock, Cooling Hot: Redundancy and Entropy as a Critique of
Interactive Artform, paper presented at Creativity and Consumption, and revised
for inclusion in this issue of Convergence.
27 Kaye Shumack and Sidney Newton, The Impact of Digital Technology on
Cultural Design Hybridity: Case Studies in Visual Communication Design, paper
presented at Creativity and Consumption.
paper presented
25 Andrea Polli and

28

29
30
31

Swingler,

Tim

at

The Invisible

Keyboard

in the Air: An Overview of the

Educational, Therapeutic and Creative Applications of the EMS Soundbeam,

paper presented at Creativity and Consumption.
Matt Locke, Public Art as Interface, paper presented at Creativity and
Consumption.
Lucy Kimball, Internal Vibrating Pager: The Aesthetics and Economy of New
Media Arts Projects, paper presented at Creativity and Consumption.
James Faure Walker, Creativity and Digital Paint, paper presented at Creativity
and

Consumption.

Downloaded from http://con.sagepub.com by Constantin Ticu on April 19, 2009