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Traveller's Tales

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Presentation from July 19th at Mississauga, Toronto.

Presentation from July 19th at Mississauga, Toronto.

Published in: Technology, Education

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  • 1.  
  • 2.  
  • 3.  
  • 4.  
  • 5.  
  • 6.  
  • 7.  
  • 8. http://www.flickr.com/photos/trois-tetes/140773720/in/set-72057594126052868/
  • 9.  
  • 10. Online social Networking
    • Textual Cohesion
    • Hyperlink
    • Linking of texts and of people - who can be regarded as ‘textually constituted”
  • 11.  
  • 12.  
  • 13.  
  • 14.  
  • 15.  
  • 16.  
  • 17.
    • I dentity that can be seen as consistent across spaces (authentic = trustworthy)
    • Expertise valued (of Flickr spaces; of Flickr people; of streetart)
    • High numbers of comments
    • Affinity Space - being a particular way with others, who do the same presentation of self
    • Negotiation of what is of value - over a period of time and through much interactivity
    • Public Displays of Connection (Danath and boyd, 2004)
  • 18. Identity Issues
    • Presentation of a particular type of self (Goffman)
    • “Projected self” (Gee 2003 55)
    • Recognised as a particular type of person in a specific context (Black)
    • Endorsement of identity by others
  • 19.  
  • 20.  
  • 21.  
  • 22.  
  • 23.  
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  • 25.  
  • 26.
    • Peter Steiner 5th July 1993 The New Yorker
  • 27.  
  • 28.  
  • 29.  
  • 30.  
  • 31.
      • July 2008
    • Mississauga Institute
  • 32. Traveller’s Tales: Streetart into cyberspace ........ and back again
  • 33.
      • Street-art (or if you prefer, graffiti), in its various forms and manifold designs, is one of the most ubiquitous sources of visual culture in the contemporary urban metropolis. .... Streetartists will go to extreme, often life-threatening extents to produce their ‘art’; council authorities will likewise spend vast amounts of funds and time in order to remove and completely eradicate the ‘vandalism’. There is seemingly no middle ground.
      • (Schachter, 2008:36)
  • 34.
    • Art?
    • Vandalism?
    • Facile scrawl?
    • Revolutionary imagery?
  • 35.  
  • 36. Street Art Online : as a New Literacy practice
    • New Literacy Studies: (Barton & Hamilton; Street)
            • Social Practice; Events and Contexts
            • Multimodality
    • New Literacies: (Lankshear and Knobel)
            • Social
            • Distributed
            • Shared
            • Replicated
            • Changeable
            • Memes
    • Text as Producing Space (Leander and Sheehy)
  • 37. Key Idea:
    • Dawkins - The Selfish Gene (1976)
    • Imitation/ replication & survival
    • Socio/cultural context
    • Dissemination online
    • Metaphor of virus online and Dawkins’ ‘contagious’ spread
    • Dissemination - stories, jokes clothing ; hyperlinks; digital replication; stencils;
    • Easy to adapt and adopt text in online spaces and add, amend, disrupt and appropriate aspects of text
    Memes
  • 38.
    • Walker talks of ‘distributed narratives’, of stories that aren’t self-contained. She explains that ‘they can’t be experienced in a single session or in a single space. They’re stories that cross over into our daily lives, becoming as ubiquitous as the network that fosters them.’ (Walker, 2004:1).
    • When street art passes from the street to the Internet, boundaries are challenged; narratives pass through on and offline spaces, being carried through objects, words and images in complex ways . This process helps us to traverse spaces, engage with others and collaborate over text making and meaning.
  • 39.  
  • 40.  
  • 41.  
  • 42.  
  • 43.
    • transforming everyday life into aesthetic-creative experience and (multifaceted) communication in socialist and post-socialist societie s
  • 44. Street Art: Narrative
    • Distributed Narrative
    • Provenance
    • Time
    • Space
    • Narrative within texts, across and around texts
  • 45. Provenance
    • ‘ social mode of meaning’
    • (Rose: 2001:38)
  • 46.
    • Palimpsest
    • Bakhtinian buzz
    • Second handedness
    • culture as a world laced with meanings from the past
    • reconfiguring the space
    Provenance
  • 47. It is the tangle of physicality and symbolism, the sedimentation of various histories, the mingling of imagining and experience that constitute the urban . ...... The city as jungle, as labyrinth, body, network, unconscious, crimescene, phantasmagoria and so on are not just literary devices, they constitute part of the material out of which we experience the urban. And they have a history. (Highmore, 2005 : 5)
  • 48.  
  • 49. Banksy
    • From Flickr search
  • 50.  
  • 51.
    • Streetart constitutes the city .... a particular version of the city... a narrative that runs through, across and between cities, .... an unofficial narrative, challenging preferred readings of what the space is for, as well as who it serves ....
      • street art challenges what is private and what is public space....
      • ..and sometimes these narratives and challenges go unobserved ....
  • 52.  
  • 53. the texts we produce in the space start to constitute the space Production of space- lefebrve
  • 54.  
  • 55. The urban space of the street is a place for talk, given over as much to the exchange of words and signs as it is to the exchange of things. A place where speech becomes writing. A place where speech can become ‘savage’ and, by escaping rules and institutions, inscribe itself on walls. Lefebrve
  • 56. Streetart is ubiquitous; multimodal in its form it covers environmental surfaces worldwide. Streetart impacts variously upon urban settings but is now being reincarnated in digital online spaces , acquiring new meanings in these new contexts. On the street, this work fades, corrodes, is erased or even celebrated by city custodians. The relocation of streetart to online spaces showcases such evolutionary processes of decay or vandalism; but digital images also breathe new meanings into the art, captured both within the online space but also impacting back to the art as it lives on in the streets. I discuss how new technologies affect streetart and streetartists and how online social-networking affords new possibilities for narrative within it. Taking Walker's notion of 'distributed narratives' and the concept of provenance I elucidate a new way of understanding street art as narrative distributed across spaces and time, in many modes and by many authors.
  • 57. Identity Issues
    • Presentation of a particular type of self (Goffman)
    • “ Projected self” (Gee 2003 55)
    • Recognised as a particular type of person in a specific context (Black)
    • Endorsement of identity by others
    • The markings can thus be argued to be an attempt to embody themselves into the very fabric of the city, to smudge the landscape with the stigmata of personhood (Mitchell, 1994)
    • I would propose therefore that each tag, each stencil, each image, can be seen as a form of ‘distributed personhood’ (Gell, 1998);
  • 58. Street Art online: as a New Literacy practice
    • Text as Space
    • New Literacies:
            • Multi-modal
            • Social
            • Value for community participation
            • Replicated
            • Changeable
            • Distributed & shared authorship
            • Less individuated
            • Memes
            • Digitality?
  • 59. And then the famous so what question...
    • Understanding of literacy as a social practice which challenges assumptions about space
    • Reconfiguring what we mean by text
    • Notion of the dialogic relationship between online/offline spaces
    • Increased participation in text making practices with implications for social relations and sense of self
    • Collaboration over texts and production of new meanings affecting our sense of who we are
  • 60.  
  • 61.