{"id":{"repo_id":"westminster","oai_identifier":"oai:westminsterresearch.westminster.ac.uk:8z8yy"},"canonical_url":"https://search.dev.ndltd.org/etd/westminster/oai:westminsterresearch.westminster.ac.uk:8z8yy","repository":{"repo_id":"westminster","name":"University of Westminster","base_url":"https://westminsterresearch.westminster.ac.uk/oai2"},"display":{"title":"Putting it together: examining new media arts and creative practice","abstract":"This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)","abstract_html":"This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)","abstract_has_math":false,"creators":["Ride, P."],"institution":"University of Westminster","degree_name":"PhD by Published Work","degree_level":"PhD thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012","date_published":"2012","updated_at":"2026-07-24T06:02:16Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:westminsterresearch.westminster.ac.uk:8z8yy"],"render_values":[{"text":"oai:westminsterresearch.westminster.ac.uk:8z8yy","href":null,"code":true}]}]},"links":{"outbound_url":"https://doi.org/10.34737/8z8yy","outbound_label":"DOI","outbound_source":"dc:identifier.doi"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Ride, P."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2012"]},{"key":"dc:date.issued","label":"Date","values":["2012"]},{"key":"dc:publisher","label":"Institution","values":["University of Westminster"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Media, Arts and Design"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Westminster"]},{"key":"dc:relation","label":"Dc Relation","values":["https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice"]},{"key":"dc:type","label":"Dc Type","values":["Thesis or dissertation"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["PhD thesis"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["PhD by Published Work"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:westminsterresearch.westminster.ac.uk:8z8yy"]},{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.34737/8z8yy"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://westminsterresearch.westminster.ac.uk/download/8e25be4d06eea4224ac978064be88c53da34849b60b8c4d7c85e4fe9903b96f2/73299997/Peter_RIDE_2012.pdf","https://westminsterresearch.westminster.ac.uk/download/e0b6fd6463f7be32e037d021db705ef88196773c69d60a3d754ee898f4397357/48786/PHD_RIDE_hyperlinks_to_publications.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)"]},{"key":"dc:description.abstract","label":"Abstract","values":["This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)"]},{"key":"dc:title","label":"Title","values":["Putting it together: examining new media arts and creative practice"]}]}],"canonical_facts":{"dc:creator":["Ride, P."],"dc:date":["2012"],"dc:date.issued":["2012"],"dc:description":["This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)"],"dc:description.abstract":["This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection­‐in-­action and reflection-­on-­action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-­based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010)"],"dc:identifier":["oai:westminsterresearch.westminster.ac.uk:8z8yy"],"dc:identifier.doi":["https://doi.org/10.34737/8z8yy"],"dc:identifier.uri":["https://westminsterresearch.westminster.ac.uk/download/8e25be4d06eea4224ac978064be88c53da34849b60b8c4d7c85e4fe9903b96f2/73299997/Peter_RIDE_2012.pdf","https://westminsterresearch.westminster.ac.uk/download/e0b6fd6463f7be32e037d021db705ef88196773c69d60a3d754ee898f4397357/48786/PHD_RIDE_hyperlinks_to_publications.pdf"],"dc:publisher":["University of Westminster"],"dc:publisher.department":["School of Media, Arts and Design"],"dc:publisher.institution":["University of Westminster"],"dc:relation":["https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice"],"dc:relation.isreferencedby":["https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice"],"dc:title":["Putting it together: examining new media arts and creative practice"],"dc:type":["Thesis or dissertation"],"dc:type.qualificationlevel":["PhD thesis"],"dc:type.qualificationname":["PhD by Published Work"]},"updated_at":"2026-07-24T06:02:16Z"}