Abstract
This chapter turns to the digital domain to view the artists’ online practices and use of new technologies as creative interplays between tradition and innovation, between old and new patterns of perception of the space thus re-presented, in the in-between of materiality and virtuality, and of ‘real’ and imaginary Scotland.
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Notes
- 1.
Gervais borrows the term ‘semiosphere’ from Yuri Lotman’s 1990 monograph Universe of the Mind. A Semiotic Theory of Culture (Bloomington: Indiana University Press).
- 2.
Another form of support, this time non-financial, relates to the publication of reviews and excerpts and their distribution through literary magazines or dedicated websites. As for poetry, mention should be made of the Saturday Poem section in The Guardian and online resources such as poetryfoundation.org and scottishpoetrylibrary.org.uk
- 3.
‘The possibility of a relational art (an art that takes as its theoretical horizon the sphere of human interactions and its social context, rather than the assertion of an autonomous and private symbolic space) is testimony to the radical upheaval in aesthetic, cultural and political objectives brought about by modern art’ (Bourriaud 1998, p. 14).
- 4.
Conversely, Alec Finlay’s interrelated blogs offer entries (or ‘posts’) displayed in reverse chronological order and accompanied by exhaustive exegetic content to be viewed by vertical scrolling with few or no gimmicky effects: see http://gathering-alecfinlay.blogspot.fr/ and http://alecfinlayblog.blogspot.fr/. Accessed 9 January 2019.
- 5.
Research is very active in this area. A limited number of 4D films have recently been released in custom-built theatres and amusement parks, where simulated environmental effects (smoke, rain, wind and lightning, among others) are supplemented by motion effects such as the seats vibrating in synchronisation with the film. Although used by artists outside the mainstream entertainment market, these physical effects remain extremely costly and raise significant technical problems, which limit their use. In the field of olfactory art, for instance, the development, diffusion area and duration of artificial scents are particularly difficult to monitor.
- 6.
Defined by the Faclair Beag Dictionary as (noun) a collection and anthology and (past participle) ‘the act of gathering, assembling, collecting and accumulating’. The project (2015–2018) was commissioned by Hauser & Wirth. It is a collaboration between, among others, Alec Finlay (poetry), Hannah Devereux and James Dyas Davidson (photography ), Gill Russell (maps and walks) and Rhynie Woman (‘foraging’). Yet another case of literary and scientific ‘doubling back’, the project was inspired by Adam Watson’s 1984 survey of The Place Names of Upper Deeside.
- 7.
Facebook post, 27 August 2016.
- 8.
Although its authorship remains disputed to this day, the statement is generally attributed to Gramsci and his ‘Letter from Prison’ dated 19 December 1929.
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Manfredi, C. (2019). The Hyperzone: Is There a Space on This Screen?. In: Nature and Space in Contemporary Scottish Writing and Art. Geocriticism and Spatial Literary Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-18760-6_9
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