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robertogreco : mediaarchaeology   4

Digital Manifesto Archive
"This collection aggregates manifestos concerned with making as a subpractice of the digital humanities."



"This archive is an academic resource dedicated to aggregating and cataloging manifestos that fall under two basic criteria. 1) The Digital Manifesto Archive features manifestos that focus on the political and cultural dimensions of digital life. 2) The Digital Manifesto Archive features manifestos that are written, or are primarily disseminated, online.

The manifesto genre is, by definition, timely and politically focused. Further, it is a primary site of political, cultural, and social experimentation in our contemporary world. Manifestos that are created and disseminated online further this experimental ethos by fundamentally expanding the character and scope of the genre.

Each category listed on the archive is loosely organized by theme, political affiliation, and (if applicable) time period. While the political movements and affiliations of the manifestos archived in each category are not universal, each category does try to capture a broad spectrum of political moods and actions with regard to its topic.

This site is meant to preserve manifestos for future research and teaching. The opinions expressed by each author are their own.

This archive was created by Matt Applegate. Our database and website was created by Graham Higgins (gwhigs). It is maintained by Matt Applegate and Yu Yin (Izzy) To
You can contact us at digitalmanifestoarchive@gmail.com.

This project is open source. You can see gwhigs' work for the site here: Digital Manifesto Archive @ Github.com"
manifestos  digital  digitalhumanities  archives  making  mattapplegate  yuyin  designfiction  criticalmaking  engineering  capitalism  feminism  hacking  hacktivism  digitalmarkets  digitaldiaspora  internetofthings  iot  cyberpunk  mediaecology  media  publishing  socialmedia  twitter  ethics  digitalculture  piracy  design  bigdata  transhumanism  utopianism  criticaltheory  mediaarchaeology  opensource  openaccess  technofeminism  gaming  digitalaesthetics  digitaljournalism  journalism  aesthetics  online  internet  web  technocracy  archaeology  education  afrofuturism  digitalart  art  blogging  sopa  aaronswartz  pipa  anarchism  anarchy 
february 2016 by robertogreco
Graham Foundation > Grantees > Paul Cronin, Adam Michaels & Jeffrey T. Schnapp
"The project undertakes a media archeology of one of the defining (but forgotten) works of radical pedagogy from the Vietnam War–era: Maurice R. Stein and Larry Miller's Blueprint for Counter Education, published as boxed set by Doubleday in 1970, as a book accompanied by three large posters intended to serve as a portable learning environment for a new process-based model of education. It reconstructs the story of Blueprint as an intellectual endeavor and design artifact, retraces the debacle of its implementation as the founding curriculum in Critical Studies at Cal Arts, and "completes" Blueprint by devising an interactive sound-based fourth wall for the portable classroom—a music poster was initially imagined by Stein and Miller, but never developed. Aimed at fostering a dialogue between the visual turn inaugurated by works like Blueprint and contemporary debates regarding education and digital culture, the project assumes the form of a publishing/exhibition/installation hybrid.

Paul Cronin is the editor of On Film-Making: An Introduction to the Craft of the Director (2004), a collection of writings by British director Alexander Mackendrick; Werner Herzog’s A Guide for the Perplexed (2014), an interview book with the German director; and Lessons with Kiarostami (2014), based on workshops conducted by Iranian director Abbas Kiarostami. His films include “Look out Haskell, it’s real!” The Making of Medium Cool (2001; re-edited 2013), Film as a Subversive Art: Amos Vogel and Cinema 16 (2003), In the Beginning was the Image: Conversations with Peter Whitehead (2006) and A Time to Stir (forthcoming, 2017), a fifteen-hour historical documentary about the student protests at Columbia University in 1968.

Adam Michaels is the cofounder of New York–based design studio Project Projects and the founder of Inventory Press. His work focuses on the active synthesis of typography and images—as well as editorial and design work—as a means of conveying significant content to diverse audiences. Project Projects works on books, exhibitions, identity systems, and websites with clients such as the Canadian Centre for Architecture, MoMA, SALT Istanbul, and Steven Holl Architects, and has been chosen twice as a finalist for the Cooper-Hewitt National Design Awards. The studio's work has been widely published, and its principals have lectured and taught both nationally and internationally. The third and most recent title in the Inventory Books series is The Electric Information Age Book: McLuhan/Agel/Fiore and the Experimental Paperback, by Jeffrey T. Schnapp and Adam Michaels, which was further elaborated upon as a full-length vinyl LP entitled The Electric Information Age Album.

Before moving to Harvard in 2011, Jeffrey T. Schnapp occupied the Pierotti Chair of Italian at Stanford University, where he founded the Stanford Humanities Lab in 1999. A cultural historian, designer, and curator, he is the author of over twenty books and hundreds of essays. His most recent books are The Electric Information Age Book (Princeton Architectural Press, 2012); Modernitalia (Peter Lang, 2012); and Digital_Humanities (MIT Press, 2012), coauthored with Anne Burdick, Johanna Drucker, Peter Lunenfeld, and Todd Presner. The Library beyond the Book, coauthored with Matthew Battles, was published by Harvard University Press in 2014. Schnapp is professor of romance literatures at Harvard, where he also teaches in the Department of Architecture at the Graduate School of Design, in addition to directing metaLAB and codirecting the Berkman Center for Internet and Society."

[See also: http://www.inventorypress.com/product/blueprint-for-counter-education ]
paulcronin  adammichaels  jeffreyschnapp  1970s  education  1070  mauricestein  larrymiller  blueprintforcountereducation  books  2014  mediaarchaeology 
september 2015 by robertogreco
Aesthetics of Dispersed Attention: Interview with German Media Theorist Petra Löffler :: net critique by Geert Lovink
"GL: You got a fascinating chapter in your habilitation about early cinema and the scattering of attention it would be responsible for. The figure of the nosy parker that gawks interests you and you contrast it to the street roaming flaneur.

PL: Yes, the gawker is a fascinating figure, because according to my research results it is the corporation of the modern spectator who is also a member of a mass audience––the flaneur never was part of it. The gawker or gazer, like the flaneur, appeared at first in the modern metropolis with its multi-sensorial sensations and attractions. According to Walter Benjamin the flaneur disappeared at the moment, when the famous passages were broken down. They had to make room for greater boulevards that were able to steer the advanced traffic in the French metropolis. Always being part of the mass of passers-by the gawker looks at the same time for diversions, for accidents and incidents in the streets. This is to say his attention is always distracted between an awareness of what happens on the streets and navigating between people and vehicles. No wonder movie theatres were often opened at locations with a high level of traffic inviting passers-by to go inside and, for a certain period of time, becoming part of an audience. Furthermore many films of the period of Early Cinema were actualities showing the modern city-life. In these films the movie-camera was positioned at busy streets or corners in order to record movements of human and non-human agents. Gawkers often went into the view of the camera gesticulating or grimacing in front of it. That’s why the gawker has become a very popular figure mirroring the modern mass audience on the screen.

Today to view one’s own face on a screen is an everyday experience. Not only CCTV-cameras at public spaces record passers-by, often without their notice. Also popular TV-shows that require life-participation such as casting shows once more offer members of the audience the opportunity to see themselves on a screen. At the same time many people post their portraits on websites of social networks. They want to be seen by others because they want to be part of a greater audience––the network community. This is what Jean Baudrillard has called connectivity. The alliance between the drive to see and to being seen establishes a new order of seeing which differs significantly from Foucault’s panoptical vision: Today no more the few see the many (panopticon) or the many see the few (popular stars)––today, because of the multiplication and connectivity of screens in public and private spaces, the many see the many. Insofar, one can conclude, the gawker or gazer is an overall-phenomenon, a non-specific subjectivity of a distributed publicity."



"GL: I can imagine that debates during the rise of mass education, the invention of film are different from ours. But is that the case? It is all pedagogy, so it seems. We never seem to leave the classroom.

PL: The question is, leaving where? Entering the other side (likewise amusement sites or absorbing fantasies)? Why not? Changing perspectives? Yes, that’s what we have to do. But for that purpose we don’t have to leave the classroom necessarily. Rather, we should rebuilt it as a room of testing modes of thinking in very concrete ways. I’m thinking of Jacques Rancière’s suggestions, in his essay Le partage du sensible, about the power relation between teachers and pupils. Maybe today teachers can learn more (for instance soft skills) from their pupils than the other way around. We need other regimes of distribution of power, also in the classroom, a differentiation of tasks, of velocities and singularities—in short: we need micropolitics.

More seriously, your question indicates a strong relationship between pedagogy and media. There’s a reason why media theorists like Friedrich Kittler had pointed to media’s affinity to propaganda and institutions of power. I think of his important book Discourse Networks, where he has revealed the relevance of mediated writing techniques for the formation of educational institutions and for subjectivation. That’s why the question is, what are the tasks we have to learn in order to exist in the world of electronic mass media? What means ‘Bildung’ for us nowadays?

GL: There is an ‘attention war’ going on, with debates across traditional print and broadcast media about the rise in distraction, in schools, at home. On the street we see people hooked on their smart phones, multitasking, everywhere they go. What do you make of this? This is just a heightened sensibility, a fashion, or is there really something at stake? Would you classify it as petit-bourgeois anxieties? Loss of attention as a metaphor for threatening poverty and status loss of the traditional middle class in the West? How do you read the use of brain research by Nicholas Carr, Frank Schirrmacher and more recently also the German psychiatrist Manfred Spitzer who came up with a few bold statement concerning the devastating consequences of computer use for the (young) human brain. Having read your study one could say: don’t worry, nothing new under the sun. But is this the right answer?

PL: Your description addresses severe debates. Nothing less than the future of our Western culture seems to be at stake. Institutions like the educational systems are under permanent critique, concerning all levels from primary schools to universities. That’s why the Pisa studies have revealed a lot of deficits and have provoked debates on what kind of education is necessary for our children. On the one hand it’s a debate on cultural values, but on the other it’s a struggle on power relations. We are living in a society of control, and how to become a subject and how this subject is related to other subjects in mediated environments are important questions.

A great uncertainty is emerged. That’s why formulas that promise easy solutions are highly welcomed. Neurological concepts are often based on one-sided models concerning the relationship between body and mind, and they often leave out the role of social and environmental factors. From historians of science such as Canguilhem and Foucault one can learn that psychiatrist models of brain defects and mental anomalies not only mirror social anxieties, but also produce knowledge about what is defined as normal. And it is up to us as observers of such discourses to name those anxieties today. Nonetheless, I would not signify distraction as a metaphor. It is in fact a concrete phase of the body, a state of the mind. It’s real. You cannot deal with it when you call it a disability or a disease and just pop pills or switch off your electronic devices."
via:litherland  attention  distraction  2013  petralöffer  geertlovink  walterbenjamin  flaneur  gawkers  cities  internet  audience  diaphanesverlag  montaigne  albertkümmel  siegfriedkracauer  frankfurterschule  kant  tibot  psychology  daydreaming  media  mediaarchaeology  richardshusterman  film  micropolitics  friederichkittler  education  subjectivation  massmedia  bildung  nicholascarr  sherryturkle  frankschirrmacher  culture  values  culturalvalues  brain  bernardstiegler  socialmedia  marketing  entertainment  propaganda  deepreading  petersloterdijk  mindfulness  self-control  mediatheory  theory  theodoradorno  weimar  history  philosophy  reading  writing  data  perception  siegfriedzielinski  wolfgangernst  bernhardsiegert  erhardschüttpelz  francoberardi  andrewkeen  jaronlanier  howardrheingold  foucault  micheldemontaigne  michelfoucault 
october 2013 by robertogreco
Media Archaeology Lab
"Founded in 2009 and based at the University of Colorado at Boulder, the motto of the Media Archaeology Lab (MAL) is that “the past must be lived so that the present can be seen.” Nearly all digital media labs are conceived of as a place for experimental research using the most up-to-date, cutting-edge tools available. However, the MAL—which is the largest of its kind in North America—is a place for cross-disciplinary experimental research and teaching using obsolete tools, hardware, software and platforms, from the past. The MAL is propelled equally by the need to both preserve and maintain access to historically important media of all kinds – from magic lanterns, projectors, typewriters to personal computers from the 1970s through the 1990s – as well as early works of digital literature/art which were created on the outdated hardware/software housed in the lab."



"What the MAL does best is that it provides direct access to defining moments in the history of computing and e-literature. In addition to landmark computers such as the Commodore 64 from 1982, the Vectrex Gaming Console also from 1982, the Compaq III portable laptop from 1987, the NeXT Cube from 1990, the lab also houses working Apple IIe’s and a rare Apple Lisa. These last two computers are particularly important for understanding the history of personal computing and computer-mediated writing; while they were both released in 1983, the shift in interface from the one to the other, and therefore the shift in the limits and possibilities for what one could create, is remarkable. The Apple II series of computers all used the command-line interface and they were also the first affordable, user-friendly, and so most popular personal computers ever while the Apple Lisa was the first commercial computer to use a Graphical User Interface."
collaboration  computers  medialab  technology  mediaarchaeology  loriemerson  archives  archiving  archaeology  mitmedialab 
july 2013 by robertogreco

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