Mitch Goodwin

Dr Mitch Goodwin is a media artist and academic. He is passionate about cultural geographies, digital literacy and urban media flows. He bookmarks web pages on drones, net culture, dystopian cinema, data viz, digital literacy, Bob Dylan and Liverpool FC. He writes about America, nostalgia and emergent virtualities and his work has appeared in the Smith Journal and The Conversation.

Mitch has lead academic programs in New Media Arts (James Cook University), and Film Production, Digital Television and Interactive Media (Birmingham City University, UK). Since 2014 Mitch has been the custodian of the Griffith University's online Dramatic Screenwriting course which subsidizes his archive of shiny physical media objects and texts from MIT Press and Alice's Bookshop.

Mitch has many years of public speaking engagements in both an academic and artistic capacity covering a variety of disciplines, including: art after social media at SXSW Interactive (Austin, 2013) / liquid ambient futures, again at SXSW (2015) / the virtualization of violence at the AAANZ conference at GOMA (Brisbane, 2015) / the virtuality of Bowie at the Stardom & Celebrity of David Bowie symposium at ACMI (Melbourne, 2015) / the ethics of drones and autonomous systems at the AAS Moral Horizons conference (Melbourne, 2015) / the liquid electric of A.I. at Open Fields (Riga, 2017) / and argued for new modes of media literacy to cope with emergent AR applications in urban spaces at the Media Innovations Symposium (Tallin, 2017).

Mitch’s current enterprise is a book project based on his PhD, entitled Dark Euphoria - a pinch from Bruce Sterling - which looks at the apocalyptic tendencies in 20th century Futurist narratives and the darkening aesthetic of digital objects post-9/11. He currently resides in the Old Physics building at the University of Melbourne in the Curriculum Design Lab with a band of merry change makers charged with shaking up the Humanities, Arts and Social Sciences curriculum.

[Programming descriptions are generated by participants and do not necessarily reflect the opinions of SXSW.]