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Simon Penny
None
Metacreation
The first detailed examination of a-life art, where new mediaartists adopt, and adapt, techniques from artificial life.
Making Sense
Why embodied approaches to cognition are better able to address the performative dimensions of art than the dualistic conceptions fundamental to theories of digital computing. In Making Sense, Simon Penny proposes that internalist conceptions of cognition have minimal purchase on embodied cognitive practices. Much of the cognition involved in arts practices remains invisible under such a paradigm. Penny argues that the mind-body dualism of Western humanist philosophy is inadequate for addressing performative practices. Ideas of cognition as embodied and embedded provide a basis for the development of new ways of speaking about the embodied and situated intelligences of the arts. Penny argues...
Penny's Story
Penny can't imagine life without Ben. Fifteen years older than Penny, they had married when she was eighteen. Now, in late 1989, after a short illness Ben has died. Their two teenage children, James and Lara, are both about to go to university, so at thirty-eight Penny finds herself alone, and everything around her is changing. Even Farrington's, the company she has worked for since a girl, is about to undergo a big change. Charles Farrington at long last takes a much-overdue retirement. Now as Penny is about to return, Charles's only child, Max, leaves an academic career to become the new head of Farrington’s. Tall, aloof and enigmatic, at forty-eight years old he is still a confirmed bac...
First Person
The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.
Interactive Art and Embodiment
What is interactive art? Is this a genre? A medium? An art movement? Must a work be physically active to be classified as such, or do we interact when we sense and make sense? Is a switch-throw or link-click enough - I do this, and that happens - or must subjects and objects be confused over time? Is interaction multiple in its engagements (relational), or a one-to-one reaction (programmed)? Are interactive designs somehow more democratic and individualized than others, or is that merely a commercial strategy to sell products and ideas? This book argues that interactive art frames moving-thinking-feeling as embodiment; the body is addressed as it is formed, and in relation. Interactive insta...
Simon Penny
None
Mr. Keen, Tracer of Lost Persons
That "kindly old investigator," Mr. Keen, sought missing persons and unraveled crimes longer than any other fictional detective ever heard or seen on the air. For 18 years (1937-1955) and 1690 nationwide broadcasts, Keen and his faithful assistant Mike Clancy kept listeners coming back for more. The nearest competitor, Nick Carter, Master Detective, ran for 726 broadcasts. This definitive history recounts the actors and creators behind the series, the changes the show underwent, and the development of the Mr. Keen character. A complete episode guide details all of the program's 1,690 broadcasts.
The Weekly Reporter
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Data Made Flesh
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
