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
  2. 2. Applied media theory
  3. 3. Applied media theoryTECHNOLOGICAL 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 modernistartists who had taken to philosophy rather than sculpture or the novel. . . . Theboundaries between the conceptual and the creative began to blur. - Terry Eagleton, After Theory
  5. 5. CAREIs it possible to develop a noopolitics, or a model of“knowledge work,” that combines digital media technicswith the cognitive modes required for traditionalhumanities research?
  6. 6. We ask the Internet to keep interrupting us, in ever moreand different ways. We willingly accept the loss ofconcentration and focus, the division of our attention andthe fragmentation of our thoughts, in return for thewealth of compelling or at least diverting information wereceive. - Nicholas Carr, The Shallows
  7. 7. . . . the human is itself a prosthetic being, who fromday one is constituted as human by its coevolutionwith and coconstitution by external archivaltechnologies of various kinds—including languageitself 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 ofand pays attention to the world by inventingtechniques, technologies, and social structures ofattention formation corresponding to theorganological specificities of our times, and bydeveloping an industrial system that functionsengodenously as a system of care: making care its“value chain” -- its economy. ” - Bernard Stiegler, Taking Care
  10. 10. CURATIONAs a curator/instructor, I assume the responsibilitiesof 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 -- whosefunctioning he interrogates as modeling the mostcomplex 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 ofa cultural heritage institution (e.g., gallery,museum, library or archive) is a content specialist responsiblefor an institutions collections and involved withthe interpretation of heritage material. The object ofa traditional curators concern necessarily involves tangibleobjects of some sort, whether it be inter alia artwork,collectibles, historic items or scientific collections. Morerecently, new kinds of curators are emerging: curators ofdigital data objects and biocurators.
  14. 14. CURRICULUMIs it possible to develop a noopolitics, or a model of“knowledge work,” that combines (hyper) digital mediatechnics with the cognitive modes required fortraditional humanities research?
  16. 16. DREADMILLDreadmill Performance, Interactive Media Forum, 2004 Heidegger, Ellul, Virilio, Baudrillard, etc. . . .
  17. 17. Applied media theoryScreening Coffin, 2006
  18. 18. Cycle of Dread
  19. 19. CYCLE OF DREAD Dane Watkins, “Call of the Dead,” 2007Speed + Heart Rate + Distance = Multilinear Narrative
  20. 20. Flow and Critical Gaming FLOW PROVOCATION: Reading Writing Artistic Practice Exercise Game playMihaly 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 & FlowCan “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, byprinting 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 ofperception were cleansed every thing would appear to man as it is, infinite. For man hasclosed himself up, till he sees all things thro narow chinks of his cavern." (Blake, TheMarriage of Heaven and Hell) Technique + Philosophy // Form + content Embodying philosophical thought.
  23. 23. “The Grave”: Blake vs. SchiavonettiWilliam Blake, Water Colour Design for Robert Blairs "The Grave" (1805) Louis Schiavonetti, Engraving for Robert Blairs "The Grave" (1808)
  24. 24. Blake vs. SchiavonettiBlake, Detail Schiavonetti, Detail
  25. 25. The BridgeGoodLife/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. GEOMOSAICresearch/creation feedback loop.
  30. 30. GEOMOSAICresearch/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 SteersmanTom 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.caTelepresence and Tactility, Digital Embodiment, Lag, Interval
  38. 38. Cabs of Curiosity DIGITAL WUNDERKAMMERStudents of “Cyberbodies” class (ENGL). MA in Experimental Digital Media (XDM)
  39. 39. Cabinets of Curiosity, Winter 2011The students assembled the cabinets, created digital games to beplayed through the arcade interface, and programmed the arcadecontrollers.
  40. 40. Cabinets of Curiosity, Winter 2011The “critical arcade cabinets” were created as “objects to think with.”The projects allowed students to engage with critical theory byapplying it to the development of a digital media project.
  41. 41. Cabinets of Curiosity, 2011Students of Professor Marcel O’Gorman’s ENGL 293 Introduction toDigital Media Studies course (Winter 2011) work on their MAMEcabinets.
  42. 42. Cabinets of Curiosity, Spring 2011A 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 theMurray 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 missionThe Critical Media Lab supports interdisciplinary research-creation projectsthat draw on new media to investigate the impact of technology on societyand the human condition.This approach, which challenges the boundaries between art and science,research and artistic practice, results in the invention of new technologiesand media artifacts, dialogue facilitation across disciplines and communities,and policy formation that directly impacts technological design andimplementation.
  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.”
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