9781137430403About the book

Digital Movement addresses the evolving ways in which movement and its technological mediation can inform creative thinking and embodied practices. In order to identify unique cross-disciplinary links within human movement research this book brings together experts from a number of creative disciplines including dance, theatre, sculpture, as well as computer and mathematical art, whilst offering an integration of scholarly perspectives from cultural, media and performance studies. 
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James Charlton

catch/bounce: Stack Overflows and Digital Actions

“Movement is a fundamental sculptural concern – not simply through the overlap of the shared spatio-temporal concerns that have aligned sculptural practice with performance art practices, but through the central role of the body in regard to materials found in object-based practices.In the slipstream of 1960s and 70s Conceptual Art, the authorial singularity of the artist can be seen as yielding to material influence. No longer subjected unquestionably to the artist’s will, materials become agents in the work. Challenging the oppositional duality of artist and material, object and subject are brought together in an inter-subjective act that repositions the sculptural artifact as residue – as after-fact more than arti-fact, as movement-object rather than static image.”


Post Screen Not Displayed for the Post Screen Festival, Lisbon, PT.
Abstract: It seems that we are always waiting for screens. But what are we really waiting for? Treating the screen as an object of sculptural concern, this paper attempts to understand how inherent event-relationships might escape digital/analogue dualisms of the screen. Drawing on Graham Harman’s constructs of things-in-themselves and Tristan Garcia’s notions of compactness and intensity, the ‘nonsense’ of the indexical image is explored through discussion of the author’s recent sculptural projects that challenge correlational assumptions about presence and the necessity of waiting for it (Harman, 2011; Garcia, 2014).


Exploded Diagrams and Faulty Parts
For TransArt Expositions Workshop.
The workshop aims to share ideas between current researchers, with or without academic affiliations. The main aim is to cross-reference approaches, extend networks, and position each researcher’s work in a wider discursive context of artistic research.

Algorithmic Offsets and Irreducible Formulas.
Presented at Action Delay a symposium and workshop on temporality in performance and media arts.


Exhalent Gestures: Inter-subjective Agency and Digital Materiality
For Corporeal Computing: A Performative Archaeology of Digital Gesture
A sculptor engaged with digital-technologies I have found my practice re-confronting a very fundamental sculptural question – what is materiality? Or more specifically how should we conceive of materiality in the hybrid digital/physical practice.


Making space on the workbench – the methodological implications of Computer Aided Design on art and design practice.
This paper explores the implications of integrating Computer Aided Design (CAD) and Computer Aided Manufacturing (CAM) system and processes with conventional fabrication practices in the context of contemporary art and design practice. It seeks to explore the constraints and affordances of these technologies and identify methodological challenges they present.


Observer Error and the Ecology of Representation
The Dryland Transcoder. James Charlton.
Measurement is an inherently inaccurate process that renders results contestable. Representation of that which is measured layers subjective interpretation on top of “observational” error and opens the door for “the fantastic” within the scientific.


CoVolutions:New Cartographies for Transversal Ecologies.
Artistic interventions, tactics and technologies for mapping ecologies [gview file=”http://idot.net.nz/wp-content/uploads/2012/07/CoVol-booklet-FINAL-web.pdf” profile=”4″]

Interview between James Charlton and Deborah Lawler-Dormer November 2008.


Constructing Purgatory. James Charlton. Sam Morrison 

On Remembering a Post-Digital Future
A peer-reviewed journal about // (APRJA) is an open-access research journal that addresses the ever-shifting thematic frameworks of digital culture.
Towards an Object Oriented Exploitation Manual
For ONJounral
Interview techniques seem to differ from interrogation techniques only in levels of severity. At least this what I can be surmised from the CIA Human Resources Exploitation Manual (1983). Both it seems are simply forms of questioning that are no more than a means of obtaining information from subjects. However I am still thankful that the version of the manual I downloaded is heavily notated with amendments that replace terms condoning coercive techniques with slightly more politically rejections⁠1 of such treatment. So just how does one go about interviewing a chainsaw?
Acts of Materiality
For Making Futures Conference
Making Futures explores craft as a ‘change agent’ in 21st-century society, the beguilingly simple reasoning behind its title implying that if we are to have any hope of making a better future for ourselves we must also fundamentally rethink and reshape the future of our material culture. Download Paper
Data Flow
Lizzie Muller.
Column 5. Artspace. Sydney .

Deepening Degrees of Subjectivity
Ella Mudle: Brad Miller, James Charlton, Simon Barney. ARTSPACE SYDNEY

Reconciling interiors: The screen as installation
For First Monday. 2003. James Charlton

Why So Quiet Child ?
A sculpture installation by James Charlton. Catalogue Essay by Mark Kirby.
There’s nothing original about the latest installation by Auckland sculptor James Charlton.
For this show at the Manawatu Art Gallery he has borrowed everything. Even the title, “Why so quiet, child?” is a line from the classic children’s novel The Borrowers, and Charlton has indeed borrowed (or rather, plagiarised) many elements and ideas, especially from the current work of artist friends. The 1950s retro designs of Dutch artist Jan van der Ploeg and the paintings of Simon McIntyre have been plundered and turned into objects of interior decoration in Charlton’s examination of the ways in which we invest both art and everyday objects with meaning and value.[gview file=”https://jamescharlton.co.nz/wp-content/uploads/2012/07/Mark-Kirby-Why-So-Quiet-Child-.pdf”