The principle objective of this study is to examine the culture of networks that are implicated
in the production of culture, specifically as it pertains to artists' design and use of digitally
networked information and communication technologies (ICTs) for the production of artworks.
The analysis in this study seeks to reveal a better understanding of the working practices
that underpin artists' creative engagements with new media while recognising the significance
of discursive continuities that inform such engagements.
Theoretically, a case is presented for combining several theoretical perspectives into a multilayered
conceptual framework for examining the circulation of power as it relates both to artistic
creativity and to technological innovation. The former is accomplished through a critical
assessment of the production of culture theoretical tradition. In calling upon concepts of discursive
conduct as a means of developing relations of power, the concept of maverickness is
proposed to understand how certain artists do not necessarily bring about change in an art
world but instead dedicate themselves to the production of artistic creativity through a contention
among various conventions. The latter is problematised drawing upon theories of mediation
to develop a model of the conversion and classification of new media standards into art
world conventions. A novel methodological approach is developed based on the development
of multiple biographical threads of an individual and of a technology within a single case study
of an art world network.
Empirically, the thesis contributes insights into the diverse end contingent collective work
practices involved in the design and use of ICTs by artists for the production of artworks. The
findings suggest that individual artists are able to develop designer roles consistent with their
situated understandings of creative conduct for modifying aspects of the ICT infrastructure
despite shifting technological and social new media standards. However, in order to coordinate
such roles within wider collective social structures, artists also initiate forms of mediation,
articulation, and classification work that extend beyond the production of artworks and
into attempts at programming art world networks within which such artworks were produced
and distributed