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Comment construire une Technoculture - Marcel O’Gorman

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Comment construire une Technoculture - Marcel O’Gorman

  1. 1. How to Build a Technoculture: Digital Studies as Care, Curation, and Curriculum Marcel O’Gorman University of Waterloo Department of English http://criticalmedia.uwaterloo.ca
  2. 2. Applied media theory
  3. 3. Applied media theory TECHNOLOGICAL PRODUCTION (driven by a powerful economic imperative) vs. CRITICAL ASSESSMENT OF TECH. (driven by a less powerful, academic imperative)
  4. 4. “writers like Barthes, Foucault, Kristeva and Derrida were really late modernist artists who had taken to philosophy rather than sculpture or the novel. . . . The boundaries between the conceptual and the creative began to blur. - Terry Eagleton, After Theory
  5. 5. CARE Is it possible to develop a noopolitics, or a model of “knowledge work,” that combines digital media technics with the cognitive modes required for traditional humanities research?
  6. 6. We ask the Internet to keep interrupting us, in ever more and different ways. We willingly accept the loss of concentration and focus, the division of our attention and the fragmentation of our thoughts, in return for the wealth of compelling or at least diverting information we receive. - Nicholas Carr, The Shallows
  7. 7. . . . the human is itself a prosthetic being, who from day one is constituted as human by its coevolution with and coconstitution by external archival technologies of various kinds—including language itself as the first archive and prosthesis. - Cary Wolfe, What Is Posthumanism?
  8. 8. Deep Attention vs. Hyper Attention
  9. 9. the invention of a new way of life that takes care of and pays attention to the world by inventing techniques, technologies, and social structures of attention formation corresponding to the organological specificities of our times, and by developing an industrial system that functions engodenously as a system of care: making care its “value chain” -- its economy. ” - Bernard Stiegler, Taking Care
  10. 10. CURATION As a curator/instructor, I assume the responsibilities of a keeper of cultural heritage, a content specialist, and an interpreter.
  11. 11. . . .the sustained expansion of images into models. Thus he gives considerable attention in his texts . . . to the description of quotidian objects -- an umbrella, a matchbox, an unlaced shoe, a post card -- whose functioning he interrogates as modeling the most complex or abstract levels of thought. - Gregory Ulmer, Applied Grammatology
  13. 13. A CURATOR (from Latin: curare meaning "take care") is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution (e.g., gallery, museum, library or archive) is a content specialist responsible for an institution's collections and involved with the interpretation of heritage material. The object of a traditional curator's concern necessarily involves tangible objects of some sort, whether it be inter alia artwork, collectibles, historic items or scientific collections. More recently, new kinds of curators are emerging: curators of digital data objects and biocurators.
  14. 14. CURRICULUM Is it possible to develop a noopolitics, or a model of “knowledge work,” that combines (hyper) digital media technics with the cognitive modes required for traditional humanities research?
  16. 16. DREADMILL Dreadmill Performance, Interactive Media Forum, 2004 http://dreadmill.net Heidegger, Ellul, Virilio, Baudrillard, etc. . . .
  17. 17. Applied media theory Screening Coffin, 2006
  18. 18. Cycle of Dread
  19. 19. CYCLE OF DREAD Dane Watkins, “Call of the Dead,” 2007 Speed + Heart Rate + Distance = Multilinear Narrative
  20. 20. Flow and Critical Gaming FLOW PROVOCATION: Reading Writing Artistic Practice Exercise Game play Mihaly Csikszentmihalyi, “Mental State in Terms of Challenge and Skill Level.” Flow: The Psychology of Optimal Experience, 1990. Can “flow” (immersion) involve a state of critical awareness? Is it possible to achieve “critical immersion” in a computer game?
  21. 21. CYCLE OF DREAD & Flow Can “flow” (immersion) involve a state of critical awareness? Is it possible to achieve “critical immersion” in a computer game?
  22. 22. William Blake’s Infernal Methods "...the notion that man has a body distinct from his soul is to be expunged; this I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid. If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro' narow chinks of his cavern." (Blake, The Marriage of Heaven and Hell) Technique + Philosophy // Form + content Embodying philosophical thought.
  23. 23. “The Grave”: Blake vs. Schiavonetti William Blake, Water Colour Design for Robert Blair's "The Grave" (1805) Louis Schiavonetti, Engraving for Robert Blair's "The Grave" (1808)
  24. 24. Blake vs. Schiavonetti Blake, Detail Schiavonetti, Detail
  25. 25. The Bridge GoodLife/Delta Walkway over King Street, looking East, Night
  26. 26. The Cycle
  27. 27. Bridge of Infernal Methods
  28. 28. Cycle of Dread
  29. 29. GEOMOSAIC research/creation feedback loop.
  30. 30. GEOMOSAIC research/creation feedback loop.
  31. 31. Health Science > Gaming > Public Art > Cognitive Science Research/creation feedback loop.
  32. 32. “Testing, testing!” BMW/Guggenheim Research Lab, Manhattan Research/creation feedback loop.
  33. 33. Myth of the Steersman Tom Thomson, Canadian Artist, 1877-1917 Downtown portage, October, 2010.
  34. 34. Myth of the Steersman Tom Thomson’s paint recipe.
  35. 35. Myth of the Steersman Canoe Lake, Algonquin Park, Ontario.
  36. 36. Myth of the Steersman 14 kilometres of fishing line.
  37. 37. Myth of the Steersman http://www.steersman.ca Telepresence and Tactility, Digital Embodiment, Lag, Interval
  38. 38. Cabs of Curiosity DIGITAL WUNDERKAMMER Students of “Cyberbodies” class (ENGL). MA in Experimental Digital Media (XDM)
  39. 39. Cabinets of Curiosity, Winter 2011 The students assembled the cabinets, created digital games to be played through the arcade interface, and programmed the arcade controllers.
  40. 40. Cabinets of Curiosity, Winter 2011 The “critical arcade cabinets” were created as “objects to think with.” The projects allowed students to engage with critical theory by applying it to the development of a digital media project.
  41. 41. Cabinets of Curiosity, 2011 Students of Professor Marcel O’Gorman’s ENGL 293 Introduction to Digital Media Studies course (Winter 2011) work on their MAME cabinets.
  42. 42. Cabinets of Curiosity, Spring 2011 A few of the finished cabinets.
  43. 43. Cabs of Curiosity
  44. 44. Cabs of Curiosity
  45. 45. Cytopath
  46. 46. Cytopath
  47. 47. Roach Lab
  48. 48. Roach Lab
  49. 49. Necrogenesis TedX Waterloo, 2012
  50. 50. Sample Critical Media Lab projects in collaboration with the Murray Alzheimer’s Research and Education Program (MAREP): Project 1: “I’m Still Here” by Adam Cilevitz, Gian Mancuso, Aaron Patkau, and Leif Penzendorfer -Digital simulation of Alzheimer’s for education and empathy. Project 2: “Spark” by Judy Ehrentraut, Emma Vossen, and Elise Vist Digital art therapy for Alzheimer’s patients and their caregivers.
  51. 51. MISSION Crimelab mission The Critical Media Lab supports interdisciplinary research-creation projects that draw on new media to investigate the impact of technology on society and the human condition. This approach, which challenges the boundaries between art and science, research and artistic practice, results in the invention of new technologies and media artifacts, dialogue facilitation across disciplines and communities, and policy formation that directly impacts technological design and implementation.
  52. 52. Critical Media seeks to close the gap between: MARKETING “GOODS” and PURSUIT OF “THE GOOD” - Engage tech. at the R & D stage of development. - Present alternative models for digital production. - Reclaim “innovation” from the logic of commercialization - Intervene in the production of “technoculture.”
  53. 53. http://criticalmedia.uwaterloo.ca marcel@uwaterloo.ca