DISTRIBUTED OBJECTIVITES OF IMAGINING: The generative scholarship driving "Networked"
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The document explores the concept of 'networked scholarship' and its implications for art history within a digital context, emphasizing the generative nature of Web 2.0. It discusses how collaborative, participatory practices in scholarly activities can reshape the roles of researchers and the aesthetic experience associated with these interactions. Key theses propose that aesthetic expression in networked platforms enhances knowledge creation and aesthetic reflection.
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DISTRIBUTED OBJECTIVITES OF IMAGINING: The generative scholarship driving "Networked"
- 1. DISTRIBUTED OBJECTIVITES OF IMAGINING: The generative scholarship driving Networked TARA ZEPEL University of California, San Diego Networked Humanities: Art History in the Web ESF Research Conference 9-14 October 2010
- 2. Art history in the web
- 3. Fertile ground for aesthetic practice Benefit from digital tools + Relationship between thinking/making/doing
- 5. TODAY’S TECHNO-CULTURAL LANDSCAPE IS: distinctly networked… increasingly mobile… reputably collaborative… Innovative + Dynamic
- 6. generative
- 7. “… authorship, publication, refereeing, collaboration, participation, customizing, interdisciplinary, credentialing, expertise, norms, training, mastery, hierarchy, taxonomy, professionalism, rigor, excellence, standards, and status.” - Davidson, “Humanities 2.0” (2008) WEB 2.0 SCHOLARSHIP is GENERATIVE SCHOLARSHIP
- 8. Are we entering an age in which data can write scholarship? WEB 2.0 SCHOLARSHIP is GENERATIVE SCHOLARSHIP How do answers reshape cultures of scholarship and creation? What does this mean for the role of the researcher? The scholar?
- 9. “ A networked book is an open book designed to be written, edited, and read in a networked environment. It is also a platform for social exchange, and is potentially linked to other books and other discussions.” - Wikipedia, “Networked Book” (as of Oct 2010) NETWORKED : a (networked_book) about (networked_art)
- 11. Remix and the Rouelles of Media Production Deseriis › No End In Sight Ulmer › The Learning Screen Varnelis › The Immediated Now Helmond › Lifetracing Freeman › Storage in Collaborative Networked Art Munster › Data Undermining Lichty › Art in the Age of DataFlow
- 12. Remix and the Rouelles of Media Production Deseriis › No End In Sight Ulmer › The Learning Screen Varnelis › The Immediated Now Helmond › Lifetracing Freeman › Storage in Collaborative Networked Art Munster › Data Undermining Lichty › Art in the Age of DataFlow
- 13. Remix and the Rouelles of Media Production Deseriis › No End In Sight Ulmer › The Learning Screen Varnelis › The Immediated Now Helmond › Lifetracing Freeman › Storage in Collaborative Networked Art Munster › Data Undermining Lichty › Art in the Age of DataFlow
- 14. Remix and the Rouelles of Media Production Deseriis › No End In Sight Ulmer › The Learning Screen Varnelis › The Immediated Now Helmond › Lifetracing Freeman › Storage in Collaborative Networked Art Munster › Data Undermining Lichty › Art in the Age of DataFlow
- 16. NETWORKED IN THE NETWORK (AS PLATFORM) Real-time asynchronous collaborative creation Subversive questioning of existing expectations
- 17. NETWORKED: a unique advantage “ Ne tworked proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a ‘te xt’ might take.”
- 18. THESIS 1: Collaborating in the Network (as Platform) is a form of Aesthetic Expression
- 19. Aesthetic experience changes what you know and how you know (or see) it. THESIS 1: Aesthetic Expression
- 20. users add value (in data) THESIS 1: Aesthetic Expression
- 21. THESIS 2: Collaborating in the Network (as Platform) requires Aesthetic | Cognitive Extension
- 22. COMMENTS TEXT EDITS SOCIAL NETWORK FACEBOOK GROUP CLOUD SERVER WIKI RSS/ WEBSITES COMMENT PRESS SOFTWARE GROUPS USERS ADD VALUE (IN DATA)
- 23. COMMENTS TEXT EDITS SOCIAL NETWORK FACEBOOK GROUP CLOUD SERVER WIKI RSS/ WEBSITES COMMENT PRESS SOFTWARE GROUPS USERS ADD VALUE (IN DATA)
- 24. meaning in (or in-between) the data THESIS 2: Aesthetic | Cognitive Extension
- 25. THESIS 3: The Value of Pattern over Prediction: Playing with networked-data is an Aesthetic Experience
- 27. THESIS 4: Collaborating in the Network (as Platform) is a form of Aesthetic Reflection
- 28. Contact Information: TARA ZEPEL University of California, San Diego PhD Student, Art History, Theory & Criticism [email_address] http://artfuturenow.com THANK YOU
Editor's Notes
- #2: [SLIDE 2] ART HISTORY IN THE WEB What does it actually mean to position art history in the web? In . A short two letter word. Yet, the pivot point that brings us all here. So, what is it that’s so intriguing about 妬 n � ? To say that art history is (or can be) in the web indicates something much more profound than a line drawn between the study of culture (in this case the study of art) and the environment we have come to call the Web.
- #6: “ harnessing collective intelligence” “users add value”
- #7: Define generative Power of creation
- #8: Air of challenge illustrated by cfp Embraces web 2.0 epistomologies (davidson, presner quote?)
- #9: Air of challenge illustrated by cfp Embraces web 2.0 epistomologies (davidson, presner quote?)
- #10: Idea developed by institute for the Future of the Book
- #11: Open chapters No end date
- #12: “ harnessing collective intelligence” “users add value”
- #13: “ harnessing collective intelligence” “users add value”
- #14: “ harnessing collective intelligence” “users add value”
- #15: “ harnessing collective intelligence” “users add value”
- #18: Air of challenge illustrated by cfp Embraces web 2.0 epistomologies (davidson, presner quote?)
- #19: Define generative Power of creation
- #22: Define generative Power of creation
- #26: Define generative Power of creation
- #28: Define generative Power of creation