By Gunnar Liestøl, Andrew Morrison, Terje Rasmussen
Arguing that "first encounters" have already utilized conventional theoretical and conceptual frameworks to electronic media, the individuals to this e-book demand "second encounters," or a revisiting. electronic media should not merely items of study but additionally tools for the improvement of cutting edge views on either media and tradition. Drawing on insights from literary conception, semiotics, philosophy, aesthetics, ethics, media experiences, sociology, and schooling, the participants build new positions from which to watch electronic media in clean and significant methods. all through they discover to what volume interpretation of and experimentation with electronic media can tell idea. It additionally asks how our knowing of electronic media can give a contribution to our figuring out of social and cultural change.The publication is equipped in 4 sections: schooling and Interdisciplinarity, layout and Aesthetics, Rhetoric and Interpretation, and Social idea and Ethics. the themes contain the results on examining of the multimodal and multisensory features of the electronic surroundings, the influence of perform at the medium of idea, how electronic media are dissolving the limits among relaxation and paintings, and the impression of our on-line world on validated moral rules.
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Extra resources for Digital Media Revisited: Theoretical and Conceptual Innovations in Digital Domains
Example text
Yet even in these cases theorists may find it difficult to establish a connection between their critique and their own practice, because the ideological theories of media are simply not framed in such a way as to promote practice. It is much easier to relate formal critique to practice. In graphic design, what passes for theory can often be expressed as rules of thumb for beginners to follow. In computer science, HCI is a search for formal parameters that can be put into practice. Whether qualitative or quantitative, formal theories focus on aspects that are by definition under the control of the designer or producer.
In European educational systems, at least in the past, this tension was perhaps mitigated by the traditional division between theoretical work in universities and practical or artistic work in technical high schools and conservatories. American universities, however, have for decades offered technical, preprofessional, and even business-oriented education along with the arts and sciences, so that the practical, theoretical, and historical dimensions of a subject have found themselves together on the same campus and even in the same department.
In fact the tension between theory and practice arose long before the advent of new digital media. In European educational systems, at least in the past, this tension was perhaps mitigated by the traditional division between theoretical work in universities and practical or artistic work in technical high schools and conservatories. American universities, however, have for decades offered technical, preprofessional, and even business-oriented education along with the arts and sciences, so that the practical, theoretical, and historical dimensions of a subject have found themselves together on the same campus and even in the same department.
