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Transcript of ecrea2012
in digital media - new media forms: lipdubs, flashmobs, spoofs, virals, remixes
- network circulation: 'homecasting' (Van Dijk) 'mass-self communication' (Castells)
- replication of cultural products: peer-to-peer distribution
- networked contributions: crowfunding
- new models of creativity: opensource software and coding practices emergent digital media practices generate tensions in the model of understanding and producing culture 1) the hibridization of categories of actors in the circuit of culture:
'prosumer' (consumer + producer); 'proam' (amateur + professional);
'viewsers' (viewers + users); 'produser' (Harries) .
2) the conflict/synergy between models:
the l ogic of participation and the logic of market (Henry Jenkins, 2003, 2006)
the common and free culture versus copyright laws (Benkler, 2006)
the cultural and social vs the market value and profit (Banks and Potts, 2009).
3) the uncertainty around the restatement of creative work and professional roles:
leisure and work through play and aesthetic experience as a productive part of the
creative process in the consumption of new media, linked to the problem on the
deregulation of creative work (Terranova, 2000; Kücklich, 2005).
4) the discourses around the concept of "creativity" and "design thinking" in the
economic sphere as a driver of innovation instead of the cultural paradigm of
the Information and Knowledge Society (Florida, 2002). Hipothesis: theoretical and methodological framework practices theories qualitative "ethnographic" approach The object of study is not the audiovisual productions in themselves, but how this practice is related to other practices and cultural forms. It is not about the study of the Internet or any particular digital media, but how digital media articulates creation, sociality and exchange. main reserach question This project is part of the research of mediaccions research group whose main theme is the study of digital culture understood in its broadest sense as the things people create, make, say, think, experiment, develop and exchange with bits, including technology. - playful practices in digital media
- media practices in everyday life
- creativity and participation in new media
- body, gender (Enguix)
- bloggers and technologies of hope (Estalella)
- indigenous activism (Grillo)
- digital photography practices (Gómez-Cruz)
- locative media art (San Cornelio)
- digital art and legitimation (Pagés)
- participatory cinema (Roig)
- interactive design (Ferrer)
- materiality, code, space (Lanzeni) This approach focused on the analysis of practices allows to establish a common ground between the different disciplinary approaches and, initially, to avoid "mediacentrics" (media influence), "textcentrics" (based on the interpretation of texts or representations) or "technocentrics" (technological determinism). Theoretic orientation to make sense of things happen not as ontological entities, foundational processes, parts of society, social structures, cultural systems, behavioral mechanisms, or cognitive faculties, but as situated accomplishments by the parties whose local activity ‘assemble’ the recurrent scenes of action that show up as a stable society (Lynch, 2001) Theodor Schatzki (2001) distinguishes four main types of practice theorists: philosophers (Wittgenstein, Dreyfus, or Taylor), social theorists (Bourdieu, Giddens), cultural theorists (Foucault, Lyotard) and theorists of science and technology (Latour, Rouse, Pickering) -John Postill-. The production of empirical data is based on case studies, using techniques of netsurfing, participant observation and interviews, which involves the production of heterogeneous data difficult to standardize and their interpretation and analysis taking into account the perspective of actors and their material practices. How cultural objects are created, circulated, regulated and performed in digital culture? to attend to "people's doings and sayings" What are they doing? what they are saying? and that by doing these things they are changing the world.... Bibliography Viveiros de Castro, E. & Goldman, M. (2012). Introduction to Post-Social Anthropology, HAU, 2012
Anderson, B., & Harrison, P. (2010). Taking-place: non-representational theories and geography: Ashgate Pub Co.
Coleman, E. G. (2010). “Ethnographic Approaches to Digital Media”. Annual Review of Anthropology, 39(1)
Schatzki, T., Knorr-Cetina, K., & Von Savigny, E. The Practice Turn in Contemporary Theory. Routledge.
Hallam, E. & Ingold, T. (2007) Creativity and cultural improvisation. Berg.
Malinowski, B. (1922). The Argonauts of Western Pacific. “Mapping”: collaborative creation practices and digital media Elisenda Ardevol, Débora Lanzeni and Gemma San Cornelio
Interdisciplinary Internet Institute, UOC. ECREA Istanbul, October 2012 Case study Conclusions “mapping” can be understood as a set of creative practices where art and technique, code and space, virtual and physical, image and reality merge. collaborative and sharing practices organize and coordinate the dynamic of “mapping”, emphasizing the political dimensions of the creative process. MediaSpace: the moment of performing mapping SharingSpace: the moment of creating mapping creative autonomy by Castells (2007) and digital environment by Benkler (2006) is defined by its feasibility of producing information, knowledge, and culture through social relations based on cooperative peer production and coordinate individual action. Media sociality is constituted by peer-to peer practices. Sharing, creations and debates are carried out on different technological devices on the Internet on “a technological and human federation” that includes sites performed to interchange experience as well as code repositories. “mapping” is an example of the transformation of the notion and experience of space due to digital media performances and practices. Developing the concept and definition of MediaSpace (Couldry, 2004), this media ecology is performed not only during the event or mapping display, but also in the very creation of it. a) In this context, “mapping” is the result and the intersection between creative practices and mediated sociability that take place in a thickish digital environment or media ecology (Horst, 2008).
b) For Telenokia members, creative practices and digital media are both constitutive to “mapping” as a collaborative practice. Collaborative practices are constitutive of their creative practices. More over, they need to collaborate in order to keep going their creative process. By doing so, they believe that they move from technical and artistic improvisation to social innovation. By their doings they do not only create a cultural product or an artistic performance, but a certain moral order (that they need to continue creating). They believe that they only can continue freely create and develop new products if their share. They know that if they don’t share, they will depend on the market’s inaccessible products for young creative artists and engineers. The gate of innovation will be close. They must be social innovators if they want to continue developing their technical expertise and artistic expressions. Telenoika, an audiovisual open creative community sited in Barcelona that uses and promotes opensource software in the context of the free culture movement.