Our session at the Brand Management and Communication Master at IED Milan, focused on Imaginary Brands, and the role of troublemakers in the creative industry
5. Originally intended to quell morning sickness in pregnant
women, and instead created the telepaths of the films'
title. Was also used on the telepaths themselves to
dampen their psychic abilities, and to prevent them from
being overwhelmed by mental noise.
Scanners
David Cronenberg (1981)
6. Beyond the surface, the film is a deep meditation on the state of
the mind in a time of medical and technological
experimentation. Like with all of Cronenberg's early efforts, this
is a film that seems to be created in direct scrutiny of Canada's
ever-controlling public health care system. If a single drug can
nearly bring the apocalypse in Scanners, then what can happen
when an entire system of state medical control makes a
mistake?
13. on art and creativity:
“The emergence of the Experience
Economy coincides with, albeit not
coincidentally, heightened interest in
creative thinking. It also introduces a
real need for greater improvisational
skills in the workplace.”
19. a space plant
duplicates human
beings and extends
its reach all over the
world, much like the
World Wide Web,
exposes the violent
normative power of
the American way
of life
20. 1978 remake, by Philip Kaufman moves the
discourse to highlight the role of
technologies and networks: the snatchers
occupy telecommunication networks and
start a planetary action for the circulation of
bodies, in the transition from the industrial
era to the one of immaterial labor.
Production ends, replaced by a regime of
mediation and reproduction.
21. “Most product designers focus
primarily on the internal mechanics of
the good itself: how it performs. What
if the attention centered instead on
the individual’s use of the good? The
focus would then shift to the user:
how the individual performs while
using the good.”
22. Both art and creativity, become norms,
expected, needed, both from the point of
view of the industry, and from the
perspective of the user, of the individual.
Both become performers, in stage acts
(the authors describe them in terms of
theatre genres), in which both parties take
active, constructive, creative part in a
creative action.
23. “The Industrialisation
of the Mind”
Hans Magnus Enzensberger
The term “cultural industry” is vague and
inaccurate, and embeds a paradox.
Conscience can be induced and
reproduced by industrial means, but it
cannot be produced.
Conscience is a social product, and the
result of dialogue. No industrial process is
able to replace the people who generate it.
24. The industry of the mind does not produce
anything, but the dynamics of infiltration
and transmission which are necessary to
the formation of the perception of what is
possible, desirable, preferable: in the
formation of the perception of the future.
29. we have to deal with
potential troublemakers
… also said: those who radically innovate
30. Enzensberger:
“The rapid development of the mind industry, its rise to a key
position in modern society, has profoundly changed the role of
the intellectual. He finds himself confronted with new threats
and new opportunities. Whether he knows it or not, whether
he likes it or not, he has become the accomplice of a huge
industrial complex that depends for its survival on him, as he
depends on it for his own. He must try, at any cost, to use it
for his own purposes, which are incompatible with the
purposes of the mind machine. What it upholds he must
subvert. He may play it crooked or straight, he may win or
lose the game; but he would do well to remember that there is
more at stake than his own future.”
31. According to Marshall McLuhan
“the artist is the person who invents the means to
bridge between biological inheritance and the
environments created by technological innovation”.
32. According to Derrick de Kerckhove
“few people apart from artists are capable of predicting the
present. […] The role of the artist today, as always, is to recover
for the general public the larger context that has been lost by
science’s exclusive investigations of text”.
33. According to Roy Ascott
“the artist as the figure which is able to confront with a world
which increasingly sees its content and meaning as created out
of people’s interaction and negotiation. A world which is
unstable, shifting and in flux; which parallels life, not through
representation or narrative, but in its processes of emergence,
uncertainty and transformation.”
34. According to Gregory Bateson
“art was the only possible way to satisfy the need of finding
solutions through radical changes in our way of thinking, or even
to our way of knowing.”
35. Arts are about possibility, and opportunity.
About sensing the present (the contemporary) and
exposing it, in ways that suggest reflection, and the
insurgence of imagination.
About the opportunity – through artworks and performance
– to shift what is perceived as “possible”, as
“imaginable”.
45. mythopoiesis
PRECARIO SANTO from Preco, unstable; unsteady;
without balance, XXI century A.D.
In legents, patron saint of the evicted,
underemployed, exploited, blackmailed, precsrious
workers. Invoked against liberism, injury without
insurance, mobbing. It is celebrated on February
29th.
…
162. Paul Du Gay
“Doing Cultural Studies: the story of the Sony Walkman”
http://books.google.it/books?id=Gop0dQGKm5sC&dq=paul+du+gay+walkman&hl=it&source=gbs_navlinks_s
163.
164. the most influential anthropological
study of modern times
the iPhone is “empty”
it is ready to be “filled”
(with apps)
this is its value:
it is a platform for human expression
168. SIMULACRUM
— in short, remain close to the “truth,” in order to test the reaction of the apparatu
– Jean Beaudrillard’s “The Preecession’s of Simulacra”
169. Transmedia Narratives
a transmedia story represents the integration of
entertainment experiences across a range of different
media platforms
Henry Jenkins, 2007
Un viaggio nelle possibilità per la definizione di nuove forme di identità. Nella contemporaneità iperconnessa, l'idea di "identità" si trasforma, esplicitandosi definitivamente come concetto liquido, emergente, multiplo, conversazionale e performativo.
L'identità si trasforma in una performance, attuata da una moltitudine di persone in grado di "scriverla" attraverso la propria visione, percezione e punto di vista.
Il brand, dunque, cambia paradigma, diventando l'enzima capace di coagulare, in forma proteica, emergente e ricombinante, la performance polifonica dell'identità, attorno al senso e ai valori
attraversando ed interconnettendo media differenti, la fisicità, la presenza online e le strade delle nostre città, attraverso la creazione di Narrazioni Transmediali, da un lato più tecnico e tecnologico, e la capacità di stimolare immaginari, desideri e visioni, da un punto di vista psicologico
Future is a performance that sees us all engaged through the dimensions of desire and of the imaginary.
Future is an undefined lapse of time, after the present.
Futurology, the study of the future, is a science, art and practice which postulates possible futures. It highlights, in the process, the importance of their characterisation asmultiples and plural: many possible and alternative futures, not a single, monolithic one. Thus exposing the limits of clairvoyance, of prediction and of combinatorial, probabilistic and statistical calculus, in respect of the possibility to conceive (and actuate) possible and preferable futures.
Future does not exist, some might say, except as a possibilistic projection of the tension of the present. Infinite futures exist, and we actuate them according to the decisions we make and the directions we embrace.
One of the main assumptions of future studies is that the future is plural, not singular. It consists of alternative futures with varying likelihood. The primary objective of future studies is to identify, map and describe alternative futures, by gathering quantitative and qualitative data and information dealing with the possibility, probability and desirability of change, according to a holistic perspective. Here, the cultural analysis of what are the“preferred” futures among the different possible ones is a fundamental part of the process.
Future is the result of a conversation. In the era of information, of digital networks, of hyper connection and of knowledge, the comprehension of the future changes direction.
It is the era of continuous disruption, in which a constant state of radical innovation bears impacts of incredible energy on all our societies. In which game-changers across business, city governance, energy and politics, are the main actors and beneficiaries of innovation processes.
It is here, in this transitory and nomadic space of change and mutation, that we can imagine to start our conversations about the ways in which to co-create our future, in performative ways.
To do that, we must start from a level comprehension which goes well beyond the understanding of the state of the arts and technologies. We must start from the understanding of the imaginaries, of the rituals and tensions of the contemporary era, including the conflicts and the things which provoke wonder and sense of surreality.
We must understand the “sense of the possible” just as much as the “sense of the desirable”.