This article presents The City as Text’s project – a virtual memory archive from the social uprising in Chile 2019 – that responds to the urgency of preserving the memory engraved on the walls faced ...with the threat of being literally whitewashed. A record over a single day, through the main street in the capital city where demonstrations took place, a few days before the government censored the messages written there. Through a hybrid process: an experiential walk complemented by a virtual work allowed the creation of a new kind of memory archive. An interface that invites people all over the world to revisit memory through the streets of Santiago. At the same time, the work explores topics related to the ephemeral nature of public space; the polyphony of protests; the importance of design/technology allowing interfaces that can help people to experience, understand and study political processes, even if they are miles away. The web platform could not be translated just into data. When those codes – guided by design – invite people to take a virtual walk, the information becomes an experience. In this context, the prevailing need to record, share and make it accessible becomes a question of design. The project also dignifies the role of design by documenting heritage in new formats. The City as Text – as an alternative historical archive – is also an invitation to build a more conscious, connected, inclusive, and respectful future.
This article considers artistic engagements with string figure performance and collection as ‘imaginary’ articulations of digital media. As an object of anthropological inquiry, the string figure ...emerges in 1888 with a short paper by Franz Boas. Encouraged by more mainstream publications by Caroline Furness Jansen (2008) and Kathleen Haddon (1930), over the course of the 20th century the string figure would become a model through which largely western writers and artists have explored both the anxieties and dreams of ideal, embodied and networked communication technologies. The present article explores, specifically, the collecting projects and films of Harry Smith in the 1960s and 1970s; the video-performance piece of 1974, titled String Games: Improvisations for Inter-City Video, by the interdisciplinary artist Vera Frenkel; and the string figure exhibit at David Wilson’s Museum of Jurassic Technology in Culver City, California. Through a media-archeological lens, the history of string figure fascination takes shape as a repository of dreams about (digital) communication, which, it is additionally suggested in a final section, might yet allow for the expansion and enlargement of conceptions of both digitality and media.
Museums increasingly recognize the need to address advances in digital culture which impact the expectations and needs of their audiences. Museum collections of real objects need to be presented both ...on their own premises and digitally online, especially as digital and social media becomes more and more influential in people’s everyday lives. From interdisciplinary perspectives across digital culture, art, and technology, we investigate these challenges magnified by advances in digital and computational media and culture, looking particularly at recent and relevant reports on changes in the ways museums interact with the public. We focus on human digital behavior, experience, and interaction in museums in the context of art, artists, and human engagement with art, using the observational perspectives of the authors as a basis for discussion. Our research shows that the COVID-19 pandemic has accelerated many of the changes driving museum transformation, about which this paper presents a landscape view of its characteristics and challenges. Our evidence shows that museums will need to be more prepared than ever to adapt to unabated technological advances set in the midst of cultural and social revolution, now intrinsic to the digital landscape in which museums are inevitably connected and participating across the global digital ecosystem where they inevitably find themselves entrenched, underscoring the central importance of an inclusive integrative museum model between physical and digital reality.
In the last few decades, photography has massively grown in terms of production, circulation and reception methods which led to an alleged limitless burgeoning of images from the day-to-day visual ...culture. This growth carries a change in the way those images are presented to society, and this has to do with the digitalization of photographic media and the increasing use of several online platforms which encourage an almost immediate posting of such images. Considering that, but at the same time growingly frequent scenario, this article aims at questioning the performative construction of photographic pictures that prompt poetic and political actions because of the interposition of scenes from «the real» and «the virtual» world. To do so, some considerations will be drawn regarding the relationship between photography and digitality from a perspective that looks at their performative power. Secondly, we will go back to the idea that a photographic portrait is considered a practice that can carry representation, disappearances, andhuman rights. Finally, we will acknowledge possible appearances because of the circulation of said pictures. For that matter, we will analyze the formalpoetic strategies identified in a selection of pictures from the series Where is Santiago Maldonado (2017)
En las últimas décadas la fotografía ha extendido significativamente sus modos de producción, circulación y recepción colaborando en una presunta proliferación ilimitada de imágenes en la cultura visual cotidiana. Esta expansión supone una modificación en sus formas de inserción social derivadas de la digitalización del soporte fotográfico y el creciente uso de múltiples plataformas virtuales que promueven la publicación y difusión casi instantánea de las imágenes. En el marco de ese universo particular, y asimismo cada vez más habitual, nos planteamos indagar sobre la construcción performativa de fotografías que posibilitan acciones poéticaspolíticas surgidas de la mediación entre escenas de «lo real» y «lo virtual». Para esto, primeramente, se desarrollan algunasconsideraciones sobre los vínculos entre fotografía y digitalidad desde una perspectiva que contempla su potencia performativa. Luego, se retoma la noción de retrato fotográfico como una práctica que posee la capacidad de articular representación, desapariciones y derechos humanos. Por último, se reconocen posibles apariciones que se constituyen a partir de las circulaciones de las imágenes. Para ello se analizan las estrategias poéticas-formales que podemos identificar en una selección de fotografías de la serie Dónde está Santiago Maldonado (2017),
Die musikalische Schrift dient nicht bloß zur Repräsentation von bereits bestehenden oder imaginierten Klängen, sondern eröffnet eine Szene des musikalischen Denkens, die durch die vier Dimensionen ...Operativität, Materialität, Ikonizität und Performativität abgesteckt ist. Damit wird die Szene des musikalischen Denkens wie eine musikalische Schreibszene entworfen. Der theoretische Anspruch des Bandes macht es erforderlich, eine Pluralität von Schreibszenen zu betrachten. Es finden sich neben allgemeinen schrifttheoretischen Ansätzen vor allem Texte, die sich mit Schreibszenen aus verschiedenen Epochen und Kulturkreisen befassen. Die in diesem Band versammelten Beiträge gruppieren sich um sieben Kategorien: Schrift, Performanz, Geste; Materialität, Autograph und Textdynamik; Schrifttheorie und Operativität; Schrift, Mündlichkeit und Erinnerung; Musiknotationen und andere Schriftsysteme; Schrift und Digitalität; Notation und Bildlichkeit.
Der Beitrag würdigt das „Wissenschaftlich-Religionspädagogische Lexikon“ (WiReLex) anlässlich seines zehnjährigen Bestehens. Dazu wird zunächst der Referenzrahmen enzyklopädischen Wissens seit der ...Aufklärung skizziert und auf WiReLex bezogen. Dabei wird gezeigt, welche lexikographischen Grundüberzeugungen und welche systematische Ordnung das Projekt tragen. In einem zweiten Schritt wird untersucht, wie WiReLex in die Veränderungen digitaler Wissenskulturen einbezogen ist und wie die Reflexion einer Kultur der Digitalität im Kontext verschiedener Artikel in Zukunft die programmatische Ausrichtung des Lexikons weiter entwickeln kann.
Digitaalisia lukutaitopelejä käsitellään tyypillisesti kvantitatiivisissa tutkimuksissa taidon näkökulmasta. Tässä tutkimuksessa lähestyimme pelin pelaamista prosessin kannalta. Tavoitteena oli ...selvittää, millaisia erilaisia kielellisiä strategioita lapset käyttävät ratkaistessaan digitaalisen lukutaitopelin tehtäviä ryhmätyöskentelynä ja millaisia ohjaavia kielentämistilanteita aineistosta hahmottuu. Teoreettisina näkökulmina tutkimuksessa olivat Vygotskyn ajatukset kielen merkityksestä oppimiselle sekä lähikehityksen vyöhykkeestä. Aineistona oli kahdeksan videoitua pelitilannetta, joissa esiopetusikäiset lapset (N=14) pelasivat Lolan tavuviidakko -peliä. Aineisto litteroitiin videonauhoilta (192 min.) ja analysoitiin laadullisesti luokitellen ja kvantifioiden erilaisia kielellisiä strategioita sekä jäsentäen erilaisia kielentämisen ja lähikehityksen vyöhykkeen tilanteita. Aineiston perusteella lasten kielelliset strategiat liittyvät sanarakenteen eri tasoille, ortografiaan sekä muodon ja merkityksen suhteeseen. Lisäksi oli havaittavissa erilaisia ratkaisujen selityksiä. Enimmäkseen kielentäminen oli oman ratkaisun ääneen ajattelua siten, että tavoitesanan fonologista rakennetta käsiteltiin eri tavoin esimerkiksi tavuttamalla ääneen. Tulosten mukaan kielellisesti taitavan lapsen on mahdollista toimia vertaisen lähikehityksen vyöhykkeellä ohjaten oppimista.
No matter where we are in the revolution versus evolution debate, digitality has undoubtedly brought about radical changes of practices and genres. Today digital genres born in the Internet age as ...New Media resources (science news reports or science blogs) compete with a traditional print-based genre of a research article. Although few works have synthesized the interaction of these “old” and “newly-born” genres, the Open Science digitality context has not received considerable treatment in genre scholarship, and little attention has been given to such features of scientific genres as multimodality, interdiscursivity, participatory culture. Thus, the relevance is in the reconceptualization of the Open Science practices and classifying the Internet-born genres of science communication. The qualitative method of discourse analysis is used in the lens of the social semiotic and the social genre theory proposed by the New Rhetoric School. As a result, four groups are suggested: research genres, promotional genres, trans-scientific genres, presentational genres. As a result of the analysis, we have come to the following conclusions. First, hybridization penetrates all the discourse and language levels: written discourse is combined with oral discourse, scientific style – with spoken style, scientific discourse – with journalism. Second, multimodality competes with the writing-based space, thus getting the potential of a meaning-making tool. As a result, the concept “science” has been reconsidered; science has become not only the professional community property but an active area of engagement with other fields and audiences in the process of science popularization. Digitality serves more than a medium and genres are not only recontextualized but gained more complexity.
Wie verändern Technologien Partizipation? Das Aufkommen digitaler Technologien hat neue Formen des Engagements ermöglicht, die Protestbewegungen, politische Kampagnen oder auch Initiativen der ...politischen Bildung prägen. Veränderte Aufmerksamkeitsökonomien und Affektpolitiken, von denen rechtspopulistische Akteur*innen profitieren, fordern die demokratische Selbstverständigung ebenso heraus wie die Macht der Daten. Der Band versammelt Perspektiven aus der Allgemeinen Erziehungswissenschaft und Medienpädagogik auf (post-)digitale demokratische Öffentlichkeiten. (DIPF/Orig.)
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