e-tivity 04

I found this online glossary Keywords of Media Theory in the website for the course Theories of Media. It is relevant that the site began life as an assignment for the course taught by W. J. T. Mitchell at the University of Chicago.The online form of the project, in allowing us to teach and publish with new media, has proven an exciting pedagogical arena. In relation to our subject, media theory, it has prompted us to think about the interface as a mediating element, whether it is the tiled interface presented here for the Keywords Glossary, or the form of books themselves as in the case of our printed forbears. The project has offered students a rare opportunity to test out the world of publishing, and to consider how academic study gets transformed into textual and visual forms that can teach others. ” Not so different from our own project, isnt’it?

Purpose: To study the organisation of the site, the use of individual pages for keywords, the keywords selected, the use of referencing and the bibliographic research, the use of tags and the form the students collaborated in the project.

Task: Read the following keywords simulation/simulacrum (1) and simulation/simulacrum (2) . Post in this blog about the way the terms are presented and contextualised in relation to concerns specific to the media artwork. What lessons can be learnt about the way the research is done and presented online?

Respond: Come back to the tiip’s blog, read your classmates posts and leave a comment with your feedback.

Timeline
Task: Friday, January 18th
Respond: Tuesday, January 22th

Thank you and have fun with the keywords!
paula

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About paula roush

I am a Lisbon-born artist based in London, UK. I am the founder of msdm, a platform for art practices that are mobile-strategies-[of]-display-[and]- mediation. It is a platform for both individual and collaborative work, shown in the context of exhibitions, publications, conferences and teaching/seminars. I work with photography, archives, found material and performance through editing strategies that investigate notions of authorship, authenticity, history and memory. I am interested in publishing as artists’ practice and as platform to explore the intersections between the roles of artist, editor and curator. My current projects look at ideas of (re) production in the work of art, resulting in publications in several formats that encompass the hand-made, the print on demand and the ebook.
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2 Responses to e-tivity 04

  1. isabellahargrave says:

    I have very little time to do this so please forgive the hazy manner in which i comment here especially as i have done it once and it just disappeared from sight so here goes -again. The site is beautifully laid out, easy to use and makes fascinating reading and seems to be an excellent resource and one I would certainly use in the future. I like the different voices writing about similar definitions which allowed you to choose the interpretation prefered and to consider alternatives.
    In terms of the definitions offered for study I found the first one appealing and was intrigued by the idea that simulation implies deceit and empty resemblence based on false assumptions – dont we usually buy into this knowing this? I do. The younger generation who lack the knowledge of my reality are more willing to accept the simulation as knowledge – aspects of information become assumed knowledge and so a tricky reality to challenge. The younger generation take their reality and as they become older they re-work it (nostalgia) and that reality by turn becomes further and further removed, each sucessive simulation assumes its own reality. Should we worry about this or is this what they mean by the ‘generation gap’?
    On reading the second definition i find that indeed simulation becomes simulacra a ‘historical process’ that ‘happens over time’. So is Baudrillard right, current reality can never be fixed except in the mind and maybe reality is built on the shaky foundations of constructed reality. At this point I run screaming back to the sofa and worry about the widening divide between common frameworks of knowledge which no longer seem so common. Childhood knowledge and experience used to be fairly safe ground but today’s children come from ever widening family backgrounds, with their own languages, cultures and religions. A recent survey of pre-school play (Educationalist Marion Samuel) found the majority of play dominated by television characters who formed a common denominator for communication for a diverse population of pre-school children. Is the Internet our common denominator, do we share some form of interpretive skills or do we buy into a shared knowledge or do we just look for what is familiar, feels comfortable. I would suggest we all migrate or navigate to our comfort zones whatever our age.

  2. Hi Isabella

    Thankyou for tackling this e-tivity with such enthusiasm and relevant consideration. It is such a vast topic which I agree, appears masterfully handled by these media students. I am incredibly impressed not only with the information that they have selected but also the language and structure with which to present it. There are some very eloquent voices indeed.

    As for your raising the issue of the generation gap and the perceived dissolution of some sort of common framework in childhood I am inclined to agree. Given that children are deemed to learn the most about the world that they inhabit through creative play on their own and with others, it would seem that tv, playstation platforms and other forms of media have the potential to limit and curb that instinct. I appreciate your concern that tv characters have become the mythical players in young children’s play instead of perhaps folk, comic book and fairytale heroes, heroines and vilains . Understandable though, given the multi-cultural dynamic of the 21st century tv is unquestionably the universal ‘picture’ that moves on people’s walls. It is also assured that millions of children watch tv unaccompanied and uncensored with no mediating adult presence. And yet there are very rich developments in many forms of media; for example more regionality and ethnic / sexual diversity, less stuffy and more natural presentation, greater and more honest disclosure and potential variety in program making.

    The question ultimately is how do we convey our values and quests in life to the next generation so that so-called ‘good values’ in society flourish? How can we empower our children to feel ‘safe’, ‘significant’ and ‘loved’ in this western world still dominated by struggle and fear? Part of me is inclined to agree with that old story about the farmer’s son who found a horse. As the story unfolds and the son incurs both injuries and apparent boonsc the events are judged by the farmer’s neighbour to be good or bad. The farmer’s reply: ‘maybe yes, maybe no’ – detached, open and accepting of the process of life unfolding.

    Perhaps we too don’t have the real distance to accurately asess this current generation’s navigation through childhood and youth and the media’s power to construct and simulate reality. But if the history of the previous industrial revolution is anything to go by, each generation normally has its very own sensibility and path.

    Blessings esther

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