Then, as I ask them to discuss their photos in relation to the Romantic texts , the task seems less daunting. Kodak and landscapes are not a perfect fit—nor should they be. The differences are important for putting the two cultures and activities in context. For example, good taste is a cue for class and education in landscape aesthetics.
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Photography in the late s had similar class, education, and gender distinctions, but by the s this gradually fades, making photography simple and accessible to virtually everyone West Chapter 2. I use Kodak and the picturesque as a starting place for beginning the conversation by which the students' culture and the Romantics' culture can speak to one another.
In this conversation, students bring as much to the class with their opinions about photography and sense of place as I do in presenting them with Romantic texts. By the end of the semester, their sense of what a photo is and does gets placed within a much larger conceptual field of representation from landscapes of the s to digital technology of Conversely, Romantic texts become for the students not simply historical moments of seeing but a vantage point to explore concerns over optical perceptions still vital to us today.
Bolter, Jay, and Richard Grusin. Cambridge, Mass.
Understanding Representation | SAGE Publications Inc
Burke, Edmund. New York: Penguin, Crarey, Jonathan.
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Techniques of the Observer. Gilpin, William. Observations on Cumberland and Westmoreland. New York: Woodstock Books, Three Essays on the Picturesque. Gray, Thomas. Correspondence of Thomas Gray. Paget Toynbee and Leonard Whibley. Oxford: Clarendon Press, Kodak Web Site. Merleau-Ponty, Maurice.
Sense and Non-sense. Panofsky, Erwin. Perspective as Symbolic Form. West, Nancy Martha. Kodak and the Lens of Nostalgia. Charlottesville: UP Virginia, Skip to main content. Romantic Circles has moved! Hermann rated it it was ok Jan 31, Mia Papp marked it as to-read Apr 08, Colleen marked it as to-read Jul 24, Angela Kristin VandenBroek added it Mar 09, Cagri marked it as to-read Jan 05, Feyza marked it as to-read Jan 05, Kathrine marked it as to-read Jan 26, Aiirasedenk marked it as to-read Aug 27, Earl John marked it as to-read Jan 08, Zarifa added it Jan 17, Silvia marked it as to-read Jan 26, Madara Gibnere marked it as to-read May 30, Aziz Qaissi added it Nov 22, Reem added it Nov 26, Jamal marked it as to-read Nov 27, Abdelmounaim Daoudi marked it as to-read Dec 02, Tuulia marked it as to-read Jan 07, Ayda marked it as to-read Aug 09, Aly Pusateri marked it as to-read Nov 20, Johanna marked it as to-read Apr 26, Maryam added it Jun 04, Huda marked it as to-read Feb 11, Mandi added it May 06, There are no discussion topics on this book yet.
About Jen Webb. Jen Webb. Can we trace the production of new subjectivities and selves?
What kind of data politics, attuned to questions of race, gender and class, can respond to the datafication of the human and the measurement of populations, and what happens to key cultural techniques such as anonymity? A crucial effect of digital cultures is the shift of the modes and imaginations of the public, as well as the organization of social movements.
We are facing a second structural transformation of the public sphere, whose impacts have been acutely perceptible in recent times. Consider, for example, the electoral triumph and governmental style of Donald Trump, Brexit, or various populisms on the rise worldwide.
What does it mean when heads of state no longer communicate primarily via government declarations, press conferences newspaper interviews, but via social media? What are the implications of government opponents organizing via social media, both in short term protests and long term movements, and in diffuse organizational forms, e. In the meantime, the modern order of nations, borders and citizenship is challenged by a media technologically enabled extrastatecraft, as well as new forms of mobility and an intensification of migration.
Which notion of the public emerges when traditional institutions, processes and rituals of the political tend to be substituted by a far more fluid and ramified media technological system? Notwithstanding current tendencies of political regression, the 21st century is, by all means, captivated by futures. This finds its expression in growing concerns with climate change, energy scarcity, security, migration or economic investments and collapses. Where contemporary digital cultures are marked by historical futures and their imaginaries, for example those conceived by cybernetics, developments such as machine learning and artificial intelligence underpin the technologies and imaginaries of contemporary futures.
Meanwhile, large-scale computer simulations and models, big data repositories e. How do these media technologies produce different futures? How do modes of calculation, quantification, but also of speculation intertwine in these technologies? How do they contribute to contemporary cultures of resilience or preemption?
And last not least: who employs them to envision what kinds of futures — and how does this shape our imaginaries of the future and concepts of property, respectively? These internationally accomplished researchers and artists will contribute as keynotes and panelists to the framing of the event. Lorena is the executive director of AlgorithmWatch, a non-profit organisation to evaluate and shed light on algorithmic and automatization processes that have a social relevance Stephan Scheel is a post-doctoral researcher on the Processing Citizenship project Felix Stalder is currently dividing his time between working as a professor of digital culture and network theories at the Zurich University of the Arts ….http://abigaylejones.com/wp-includes/cell/747-espionner-un.php
Understanding Representation (Understanding Contemporary Culture series)
There are only a few places left, for which you can register here. However, you are welcome to attend any of the keynotes or spotlight panels for free without registering. This page requires frame support. Please use a frame compatible browser to see the ticket sales module.
Childcare will be provided. Please get in touch via email well in advance of the conference to let us know what you requirements are or if you have any questions. The conference booket with detailed program and abstracts is now available for download. The schedule of events is as below. Focusing on one special topic annually, it affords a select group of graduate students the opportunity to work with international scholars from all fields of media studies in an intimate and highly focused context. The summer school deals with the challenges of histories and historiographies of digital cultures.
The Centre for Digital Cultures CDC at Leuphana University creates a conducive, productive and, in many instances, experimental research environment in which researchers and practitioners, activists and theorists, artists and producers, hackers and designers broker and live dynamic connections between digital cultural practices, and new forms of knowledge production.
This includes the development of advanced theory and innovative courses, as well as the creation of software, media formats and digital platforms, which unleash new forms of collective expression and experience. It is engaged ethically and reciprocally with others. Our aim is to carry out innovative interdisciplinary research into continuities and transformations in culture and society in a way that contributes to understanding and shaping contemporary local and global life.
This approach involves being reflexively engaged both with the world and in understanding the conditions and limits of its own knowledge practices. Some people say that the city is refreshing not only because of its clear air, but also because of the cheerful mood of the residents. A close-knit university campus and a wide array of entertainment and cultural events ranging from art exhibitions and international rock festivals to poetry readings provide a stimulating atmosphere. Her current work on digital media, identity and its representation, digital humanities, and the structuring of data combines her studies of systems design engineering and English literature BASc from Waterloo University, PhD in English from Princeton University.
Situated primarily in the field of new media studies, her larger projects have been driven by questions such as: What is the impact of control technologies on mass media? Louis Her research investigates environments, material processes and communication technologies through theoretical and practice-based work. She co-founded and co-edits together with Prof. Gundolf S.
Freyermuth the book series Bild und Bit.