Latest...

'The Inhumanist Manifesto', Media Theory, Vol. 1, No.1, 2017.

The Uberfication of the University (Open access Forerunners series version available here; as of April 4 2017 an interactive Manifold series version is available here.)

Públicos Fantasma - La Naturaleza Política Del Libro - La Red (Mexico: Taller de Ediciones Económicas, 2016) - new book, co-authored with Andrew Murphie, Janneke Adema and Alessandro Ludovico. 

'Posthumanities: The Dark Side of "The Dark Side of the Digital"' (with Janneke Adema), in Janneke Adema and Gary Hall, eds, Disrupting the Humanities: Towards Posthumanities, Journal of Electronic PublishingVol. 9, No.2, Winter, 2016.

Open Access

Most of Gary's work is freely available to read and download either here in Media Gifts or in Coventry University's online repository CURVE here 

performative project Janneke Adema has put together, based on our ‘The Political Nature of the Book: On Artists’ Books and Radical Open Access’ article for New Formations, Number 78, Summer, 2013. 

'What Does Academia.edu's Success Mean for Open Access: The Data-Driven World of Search Engines and Social Networking', Ctrl-Z: New Media Philosophy, no.5, 2015.

Radical Open Access network

About...

'People know what they do; frequently they know why they do what they do; but what they don't know is what what they do does' -- Michel Foucault, Madness And Civilisation

Media Gifts is the website/blog of Gary Hall, a  media theorist working on new media technologies, continental philosophy, art and politics. It provides details of his  publications, talks and other activities, with a particular emphasis on work-in-progress.

 

Media gifts: the idea

My research includes a series of performative media projects or ‘media gifts’ which use media, both 'new' and 'old', to actualise or creatively perform critical theory and philosophy. They are gifts in the sense they operate as part of what has come to be known as the academic gift economy whereby research is circulated for free rather than as intellectual property or market commodities that are bought and sold. They are performative in that they do not endeavour to provide a representation or critique of the world - or not just do so - as much as act in the world or intra-act with it. In other words, they are instances of media and mediation  that endevour to produce the effects they name or things of which they speak, and that are engaged primarily through their actualization, enactment and performance. They are a way to practice an affirmative media theory or media philosophy, where analysis and critique are not abandoned but take more creative, inventive forms.

Operating at the intersections of art, media, politics and philosophy, the different gifts in the series each in their own way experiment with the potential media technologies hold for making affective, singular, ethical and political interventions in the ‘here’ and ‘now’. They include:

 •    Culture Machine - an open access journal of critical and cultural theory.

•    The open access archive CSeARCH (Cultural Studies e-Archive - now retired)

 •    Open Humanities Press - the first open access publisher dedicated to critical and cultural theory.

•    The Liquid Books series – a series, edited by Clare Birchall and myself, of digital ‘books’ users are able to remix, reformat, reversion, reuse, reinvent and republish. 

Volume 1. New Cultural Studies: The Liquid Theory Reader, a ‘liquid book’ edited by myself and Clare Birchall (and others) as a follow-up to the 2006 woodware volume, New Cultural Studies: Adventures in Theory edited by Gary Hall and Clare Birchall

Volume 2. The Post-Corporate University, ‘curated’ by Davin Heckman

Volume 3. Technology and Cultural Form, openly written and edited by Joanna Zylinska and the students on the MA Digital Media at Goldsmiths, University of London. (Featured in Matthew Reisz, 'Title Fights', Times Higher Education, June 23, 2011.)

Volume 4. Wyrd to the Wiki: Lacunae Toward Wiki Ontologies, openly and collaboratively written by Shareriff (Trey Conner, University of South Florida) and mobius (Richard Doyle, Penn State University)

Volume 5. 'We're All Game Changers Now': Open Education - A Study in Disruption, only partially realised liquid book produced as part of a multi-part research project that also includes the 2014 volume from Rowman and Littlefield International, Open Education: A Study in Disruption(An open access verion of the latter is available here.) Both books are co-authored by Coventry’s Open Media Group and Mute Publishing, this multi-part project being designed as a critical experiment with collaborative writing and concise, medium-length forms of shared attention.

Volume 6. Biomediaciones/Biomediations. Life as such doesn’t exist: it is always mediated by language, culture, technology and biology. It is these multiple mediations of life that form the theme of this liquid, living book, the sixth volume in the series, which has been collaboratively speed-edited in three hours at the Living Books workshop at the Festival of New Media Art and Video Transitio_MX 05 BIOMEDIATIONS (Biomediaciones) in Mexico City, September 2013.

Volume 7. After New Media: A Liquid Reader, a 'liquid reader' for the non-assessed, online and open access course 'After New Media' from Goldsmiths, University of London. Each section relates to a lecture on the After New Media course, with links highlighted in bold representing key reading. As with the After New Media course, the reader experiments with its own mediation as a form of pedagogy and seeks to intervene in and problematise the increasingly hegemonic, branded and top-down model of the MOOC (massive open online course). 

Volume 8. Photomediations: An Open Reader, part of the online project Photomediations: An Open Book (see below), led by Joanna Zylinska. It contains academic, curatorial and mainstream open access essays on the dynamic relationship between photography and other media. 

Volume 9. Really, We're Helping To Build This . . . Business: The Academia.edu Files, charts the debate over for-profit academic social networking sites (aka academic research sharing platforms) such as Academia.edu, ResearchGate and Mendeley. It features contributions from Gary Hall, Kathleen Fitzpatrick, Eileen Joy and Guy Geltner. Although it has initially been put together by Janneke Adema and Gary Hall, like all those titles in the Liquid Books series, The Academia.edu Files is open for anyone to add to, edit, reversion and comment upon.

Volume(n) 10. Eco-catástrofe y deconstrucción. Este volumen es una versión líquida del seminario Debates contemporáneos en Teoría Crítica, dentro del programa de maestría de 17, Instituto de Estudios Críticos. La edición está a cargo de Gabriela Méndez Cota, Ana Cecilia Terrazas Valdés, Marco Antonio Alcalá Flores, Alejandro Ahumada y Diego Alejandro Corrales Caro. 

This is a liquid version of the MA seminar on deconstructive environmental criticism at 17, Institute of Critical Studies in Mexico. Its purpose is to create and make available in Spanish some situated and creative translations of current theoretical reflections around "the disappearing future" (Cohen, Colebrook and Hillis Miller, 2012). While Latin American contexts have their own traditions of ecological thinking and environmental activism, so far their potential contributions to a post-liberal, non-moralistic take on environmental catastrophe appear as either superficial or non-existent. One reason for this may reside in the fact that Latin American environmentalism been shaped by the the natural and social sciences rather than the critical Humanities. With this liquid book we aim to contribute a dose of transnational philosophy and experimental writing to environmental criticism in Spanish, in the hope of making connections and forging new collaborations across countries, disciplines and languages.

•    Liquid Theory TV (with Clare Birchall and Pete Woodbridge) – a series of Internet TV programmes experimenting with new and different ways of acting as a ‘public intellectual’ in the current media environment by communicating academic research and ideas to a wider community both ‘inside’ and ‘outside’ the university:

Liquid Theory TV: Episode 1

Liquid Theory TV: Episode 2

Liquid Theory TV: Episode 3

•    Data Commonism (was WikiNation) – a project exploring new ways of organising platforms, institutions, cultures, and  communities in all their complexity, uncertainty, and multiplicity; ways that do not uncritically repeat the reductive adherence to democracy, hegemony and Western, bourgeois, liberal humanism that can be found in the institution of academic criticism more widely.

 •    The Open Scholarship Full Disclosure Initiative - as yet unrealised idea for an online directory detailing the sources of funding of all journal editors and publishers.

•    Pirate Philosophy 1.0 and 2.0 – a project investigating some of the implications of so-called internet piracy for the humanities, particularly the latter’s ideas of authorship, the book, the academic journal, scholarly writing and publishing, intellectual property, copyright law, fair use, content creation and cultural production. ‘Pirate Philosophy’ explores such ideas both philosophically and legally through the creation of an actual ‘pirate’ text using peer-to-peer BitTorrent networks.

•    The Living Books About Life series - edited with Clare Birchall and Joanna Zylinska, published by Open Humanities Press. Initially funded by Jisc, and published by Open Humanities Press, this is a series of electronic open access books about life - with life understood both philosophically and biologically - that provides a bridge between the humanities and the sciences.

•   Culture Machine Live - a series of podcasts edited by myself, Janneke Adema, Pete Woodbridge (now at Manchester School of Art), and Clare Birchall (King’s College, London). Includes talks with Richard Sennett, Johanna Drucker, N. Katherine Hayles, Chantal Mouffe, Geert Lovink, Alan Liu, Ted Striphas, and Gayatri Chakravorty Spivak, on a range of issues including the digital humanities, internet politics, the future of cultural studies, transparency, open access, cultural theory and philosophy.

•   Photomediations: An Open Book -  which redesigns a coffee-table book as an online experience to produce a creative resource that explores the dynamic relationship between photography and other media. The project is a collaboration between academics from Goldsmiths, University of London, and Coventry University (Joanna Zylinska, Kamila Kuc, Jonathan Shaw, Ross Varney and Michael Wamposzyc). It is part of Europeana Space, a project funded by the European Union's ICT Policy Support Programme under GA n° 621037. It is accompanied by a free downloadable pdf brochure, A Guide to Open and Hybrid Publishing (or how to create an image-based, open access book in 10 easy steps), written by myself, Kamila Kuc and Joanna Zylinska, which uses Photomediations: An Open Book as an illustration.

 

Media gifts: the open book

While these media gifts constitute relatively distinct projects in their own right, they can also be seen as forming an open, living, fluid network of texts, websites, archives, wikis, internet TV programmes, publications and institutions that takes multiple forms and appears on multiple platforms.

The open, distributed book I am putting together as part of my work on these projects is just one knot or nodal point in this constantly changing network, one possible means of access to or engagement with it. This multi-medium, multi-locational, multiple identity book is designed to follow on from Digitize This Book!: The Politics of New Media, or Why We Need Open Access Now and itself has the provisional title of Media Gifts. One of the ways it is being made freely and openly available as it emerges and begins to take shape is via the open book page of this website.

The reason I'm positioning this emergent distributed book as one project in a constellation of other open access, open media and open education projects, is because doing so may help us to think differently about the idea of book itself. For example, on his Object-Oriented Philosophy blog, Graham Harman writes: 

In not too many years we will have reached the point where literally anyone can publish a philosophy book in electronic form in a matter of minutes, even without the least trace of official academic credentials. I don’t bemoan this at all – the great era of 17th century philosophy was dominated by non-professors, and the same thing could easily happen again. As far as publishing is concerned, what it means is that all publishing is destined to become vanity publishing. (Alberto Toscano recently pointed this out to me.) You’ll just post a homemade book on line, and maybe people will download it and read it, and maybe you’ll pick up some influence.

Yet what's really interesting about recent developments in electronic publishing is not that, what with open access and the emergence of the likes of Scribd, Blurb and Issuu, publishing a book is something nearly everyone can do today in a matter of minutes. Nor is it that book publishing is, as a result, steadily becoming more like blogging or vanity publication, with certification provided as much by an author’s reputation or readership, or the number of times a text is downloaded, cited, referenced, linked to, blogged about, tagged, bookmarked, ranked or indexed - and thus, in effect, recommended by others in what amounts to a process of collaborative evaluation - as it is by conventional peer-review or the prestige of the press.

No, the really interesting and important thing about all this is the way it encourages us to see the book as something that’s not fixed and unified, with definite limits and clear material edges, but as liquid  and living, constantly open to being annotated, updated, revised, supplemented and reimagined; with publication - whether in print-on-paper or digital form - no longer being conceived as an end point or fixed moment in time, but rather as a nodal point in an ongoing process or flow.

So much so that, as Ted Striphas suggests, perhaps soon we’ll no longer call such things books at all, e- or otherwise. On the other hand, perhaps ‘book’ is as good a name for such things as any, since I’d maintain books have always been like this to a certain extent. Books have always been liquid, living and distributed. Digital technology has simply helped to make us more aware of the fact, that’s all:

‘And today the book is already, as the present mode of scholarly production demonstrates, an outdated mediation between two different filing systems. For everything that matters is to be found in the card box of the researcher who wrote it, and the scholar studying it assimilates it into his own card index.... The typical work of modern scholarship is to be read like a catalogue. But when shall we write books like catalogues?’

(Walter Benjamin (1928), One Way Street, in Selected Writings, ed. Marcus Bullock, Howard Eiland, and Gary Smith, 4 vols (Cambridge: Massachusetts: Harvard University Press, 1996-2003) I: p.456, 457)

 

Media gifts: the open notebook

If this open, distributed, multi-medium book is one nodal point in this web of gifts it is just one such node. There are others, and they should be no less privileged than the book.

Some of the other gifts in the series have been detailed above. But they also include the open humanities notebook section of the Media Gifts website. This provides a space where some of the ongoing research for the Media Gifts volume can be published more or less as it emerges, in beta, pre-print and grey literature form, and so made openly available for free, very quickly and easily. Indeed, the media gifts open notebook provides a forum where ideas, theories and concepts relating to all of the various projects in this network can be outlined, developed, reflected upon and openly shared, discussed and experimented with still further.

Why call it a notebook rather than a blog? Partly in an attempt to elude the diary-like, 'Daily Me' associations of the term blog. Partly because the academic, essayistic nature of much of the material published here means this space is indeed perhaps easier to understand as a kind of open, electronic notebook.

 

Some of which others have been involved in writing, editing, producing, developing etc. either openly, or anonymously, via pirate p2p networks etc. So you can’t always necessarily tell who, or what, the authors, are.