Pismenost nakon decentralizacije. Nudi li Mreža novi oblik pismenosti?

Rad će postaviti pitanje nudi li danas Mreža alat za “osnaživanje čitatelja”, kako je najavljivala hipertekstualna teorija devedesetih. Interaktivnost kao “prirodan” oblik pismenosti postala je ideologem razumijevanja elektroničke pismenosti. No je li danas uistinu riječ o demokratizaciji čitanja-pisanja putem odabira smjera, “kretanja” virtualnim prostorom teksta? Rad će naglasiti razliku između Web 2.0 žanrova i koncepcije hiperteksta te razliku tekstualne i vizualne pismenosti. Ono što ćemo ovdje nazvati “topografskom proizvodnošću” bitno se razlikuje od “distributivne proizvodnosti” kakvu danas susrećemo na Mreži. Mreža nije orijentirana isključivo na proizvodnju virtualnog dérivea, trodimenzionalnog prostora kretanja, već je riječ prvenstveno o komunikacijskom kanalu. Umjesto topografije, za Mrežu će biti ključno povezivanje bilo kojih dviju točaka i uspostavljanje kanala “distribucije”. Temelj distributivne strukture jesu mrežni protokoli, prvenstveno TCP/IP protokol koji omogućava peer-to-peer, izravnu komunikaciju dvaju računala. Kanali neovisne distribucije postojali su i ranije, prvenstveno u polju alternativnih ili opozicijskih kultura u obliku DIY praksi, no domet njihove distributivne mreže bio je slab. Mreža je kanal do sada nezamislive fleksibilne distribucije, nehijerarhijski kanal koji (digitalnoj) proizvodnji pripaja dodatnu vrijednost. Politička, ekonomska i kulturalna pitanja redefinirana su arhitekturom te protokolima koji tu arhitekturu definiraju. Protokoli su pravila koja su podređena socijalnom konsenzusu. U tom smislu politička teorija novih medija mora napustiti mit “osnaživanja čitatelja” i krenuti prema složenom tipu materijalne analize ili analize arhitekture te socijalnih pravila koja tu arhitekturu definiraju. Proizvodno-distribucijski subjekti i tekstovi naseljavaju sve mrežne komunikacijske kanale. Bloganje, Twitteranje, Facebookanje, Flickeranje, YouTubanje naših života dio je procesa lifestreama. Dio je ontologije elektroničkog identiteta ultimativni zahtjev za menadžeriranjem života koji se provodi translacijom identitetskih varijabli na Mrežu

In the Shadow of Akimbo Corporatism: Arched Athleticism and the 'Becoming-Human' of a People.

The importance of Deleuze and Deleuze and Guattari’s development of ‘encounter’ is brought into sharp relief as key to the notion of ‘athleticism’. Here, both are developed as indispensable to each other, forming an a-radical/ana-material groundless ground to power, politics, literary sensibility, indeed sense itself – though all played in a minor key. It is a nuanced encounter which, at one and the same time, if working as encounter, produces an acephaletic knowledge, a body-knowledge, without the Ego-I. This, in itself would have been enough. But in an age of massifying systems, drone warfare and horrific migrations, where corporate tentacles bend the rules akimbo, one finds that this turn to a Deleuzean athleticism offers a different kind of political analysis, a radical difference, which, despite (or because of) the odds, enables a politics of hope and indeed, of a ‘becoming-human’

Archive Drift

Nothing is as purely imaginary as the digital archive. Like a brilliant specter from the vast recesses of the cultural universe, the digital archive sweeps through the night skies of the mind, turning time’s past into real-time, lighting up spatial horizons with light-space, folding the historical past into the projected future, breaking down fixed boundaries, always following the unpredictable pathways of the awaiting imagination. Never really interested in truth-telling, nor particularly loyal to the concept of bunker archeology, the digital archive is that rarest of cultural phenomenon: a code matrix tracing an uncertain arc across the human condition, projecting retrieved memories into the present, here confronting the solid matter of reality with imaginary reconstructions of the past, there gathering speed as the code matrix is propelled forward by the gravitational force-fields of the surrounding planets of society, economy, and culture, always becoming in the process something more intense, more vivid, more purely imaginary.Rien de plus imaginaire que l’archive numérique. Tel un spectre brillant sorti des vastes recoins de l’univers culturel, l’archive numérique s’élance dans les ciels nocturnes de l’esprit. Elle change le passé temporel en temps-réalité ; elle éclaire les horizons avec de la lumière-espace ; repliant le passé historique, elle le projette vers le futur ; elle détruit les limites fixes ; elle prend toujours les sentiers imprévisibles des attentes de l’imagination. Comme elle n’a jamais réellement d’intérêt à dire la vérité et qu’elle ne respecte pas particulièrement le concept de bunker archéologie (Paul Virilio), l’archive numérique constitue un cas très rare de phénomène culturel : c’est une matrice de codes, qui trace un arc incertain par-dessus la condition humaine, récupérant une mémoire qu’elle projette dans le présent, en confrontant d’un côté la solidité matérielle du réel à la reconstruction imaginaire du passé, en prenant de l’autre de la vitesse tandis que la matrice des codes est projetée en avant par ces champs de force gravitationnels que sont les planètes environnantes — société, économie, culture. Dans ce processus, l’archive numérique devient toujours plus intense, plus vive, plus purement imaginaire

Postmodern Scene: Extremental Culture And Hyper-aesthetics

p.vii,320; ill., index, 25 c

Richard Hancox

The authors discuss Hancox's films which delineate the contradictions between personal memories and the collective construction of Canadian regional identity. 25 bibl. ref

Tony Brown

Through an analysis of notions of scale, speed and temporality set forth in Brown's installation works, accompanied by an examination of some iconographic modalities (linked in particular to the question of the rapport between the sexes), Lamoureux proposes a displacement of the usual rhetorics (established on notions of psychosis and of technological apparatus) related to the artist's production. Reprinted text by Kroker (1986). Biographical notes. 23 bibl. ref

Technologie et art émancipatoire : la vision manitobaine

Marshall McLuhan a décrit l'imagination artistique comme un "premier système d'alarme" des changements majeurs qui s'opèrent dans la logique de la société technologique. Pour McLuhan, les artistes sont comparables à des "sondes" qui explorent la relation entre la technologie et la culture, précisément parce que leurs œuvres se situent si souvent aux frontières de l'expérience technologique. Si tel est le cas, il existe donc un groupe d'artistes manitobains contemporain qui a beaucoup de choses à nous dire sur l'art émancipatoire et la technologie puisque ses productions artistiques évoquent la technologie comme déchéance et extase. La vision manitobaine constitue une façon radicalement nouvelle de "voir" l'impact social et culturel de la technologie.Marshall McLuhan once described the artistic imagination as an "early warning system" of major shifts in the logic of technological society. For McLuhan, artists are like "probes" of the relationship of technology and culture just because their work is so often at the frontiers of technological experience. If this is so, then there is a contemporary group of Manitoba artists who have much to tell us about emancipatory art and technology since their artistic productions dwell on technology as decay and ecstacy. The Manitoba vision? It's a radically new way of "seeing" the social and cultural impact of technology.Marshall McLuhan describió la imaginación artística como un "sistema de alarma precoz" de cambios mayores dentro de la lógica de la sociedad tecnológica. Para McLuhan, los artistas son como un "sondeo" de la relación entre tecnología y cultura porque su trabajo se sitúa a menudo en la frontera de la experiencia tecnológica. Si esto es así, he aquí un grupo contemporáneo de artistas de Manitoba que tienen mucho que decirnos sobre arte emancipatorio y tecnología a partir del momento que sus producciones artísticas permanecen por encima de la tecnología como decadencia y éxtasis;, La visión manitobana? Es una nueva vía radical de "mirar" el impacto social y cultural de la tecnología