Martin Zeilinger

Martin Zeilinger

I am a new media researcher, curator, and practitioner based in London. In addition to being Lecturer in Media at ARU’s Dept for English & Media, I co-curate the Toronto-based Vector New Media Art Festival (vectorfestival.org), which showcases experimental media art drawing on video game technologies. I am also co-organiser for the 2017 iteration of Moneylab, an international event of art, activism, and critical debate related to the impact of financial capitalism on contemporary culture and society. My current research focuses broadly on contemporary digital culture; this includes work on digital art, issues of intellectual property and cultural ownership, appropriation-based art practices, and political economies of digital media. My research extends to creative interests ranging from found footage and video synthesis to physical computing and creative coding. In relation to science fiction, I’m a great fan of formally and conceptually adventurous dystopian work with a sharp political edge in prose, film, and videogames.
@mrtnzlngr // http://marjz.net/

Selected Publications

Book

Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. (Peer-reviewed). University of Toronto Press, 2014.

Peer-reviewed articles and chapters

“Métic Action in Digital Culture” Platform Journal 7.1 (forthcoming 2017).

“Digital Art as ‘Monetised Graphics:’ Enforcing Intellectual Property on the Blockchain,” Philosophy and Technology Journal 30.1 (2016). rdcu.be/mYC4 (Open Access)

“Live Coding the Law: Code, Copyright, & Improvisation,” Computer Music Journal 38.1 (2014), MIT Press, (special issue: Live Coding; eds. Alex McLean, Julian Rohrhuber, and Nick Collins): 77-89.

“Sampling as Analysis, Sampling as Symptom: Found Footage and Repetition in Martin Arnold’s Alone. Life Wastes Andy Hardy,” in Sampling Media. Eds. David Laderman and Laurel Westrup. New York: Oxford University Press, 2014: 155-167.

“Treasuring Intellectual Property: the Pirate Party Movement and Cultural Ownership” (with Lisa Dobbin), in The IP Handbook, Eds. Matthew David and Deborah Halbert. New York: Sage Publications, 2014: 370-386.

“A Manifesto for a Robust Culture of Fair Dealing” (with Rosemary J. Coombe and Darren Wershler), in Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. Toronto: University of Toronto Press, 2014: 3-40.

“Chiptuning Intellectual Property: Electronic Music Between Creative Commons and Moral Economy,” International Association for the Study of Popular Music Journal 3.1 (2012): 19-34.

“Three Peters and an Obsession with Pierre: Intellectual Property in John Greyson’s Un©ut” (with Rosemary J. Coombe), in The Perils of Pedagogy. Eds. Brenda Longfellow, Scott MacKenzie and Thomas Waugh. McGill-Queens University Press, 2013: 438-449.

“Surveillance Culture and Appropriation: CCTV as Found in Footage in Manu Luksch’s Faceless,” in Eyes Everywhere: The Global Growth of Camera Surveillance. Eds. Randy Doyle, Aaron Lippert and Emily Smith. Introduction by David Lyon. London: Routledge, 2012: 262-273.

Curatorial essays 
“Rendered Visible: Exploring the Limits of Algorithmic Agency.” Vector Game Art & New Media Festival 2016
“To Utility & Beyond. Interface Experiments in New Media and Game Art.” Vector Game Art & New Media Festival 2015

“Impedance: Games + Resistance.” Vector Game Art & New Media Festival 2014
“Net.Works 2.0: A Game Art Survey Exhibition.” Vector Game Art & New Media Festival 2014

“Frames of Mediation and the Spectacle of Everyday Life.” In A Total Spectacle Exhibition Catalogue. Edited and curated by Milena Placentile. Atomic Centre, Winnipeg, 2013
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