Emoji, Emoji, What for Art Thou?
By Gina Mitchell The Digital Age, with its new networks, technologies, and modes of communication, is alternatively posited as the future and the demise of the humanities.
On one hand, its capabilities promise to aggrandize the humanities and its endeavors; online classrooms, E-publishing, virtual archives, and other developments can expand the reach and deepen the inquiries of literature, history, and art.
At the same time, the Digital Age is accused of catapulting the humanities into a state of crisis. This era and the changes it engenders have been linked to phenomena from the death of the book to the decline of the music industry.
Many worry that modern technology, mobile communication, and the multi-tasking they demand have distracted us from the larger questions—ontological and moral—that the humanities beg us to consider. Against this backdrop, skeptics of the Digital Age often regard the humanities as our last hope, the thing that might save us from a dystopian digitized future.
Compelling arguments have been made for each of these positions. In this piece, I bring together texts that I hope will lead us to a more nuanced understanding of the interactions between the humanities and the Digital Age, without glossing over the tensions that exist between them.
Both talks shift the focus away from the alluring opportunities our new technologies offer, asking us to consider instead what is lost in the present era of constant, digitized communication: Technology is seductive when its affordances meet our human vulnerabilities.
And it turns out we are very vulnerable indeed. We are lonely but fearful of intimacy. Connectivity offers for many of us the illusion of companionship without the demands of friendship.
To put it too simply, we would rather text than talk. Online connections bring so many bounties, but our lives of continual connection also leave us lonely. Often we are too busy communicating to think. Moreover, our mobile technologies have propelled us into a state of perpetual distraction, diminishing our capacity for self-reflection and critical thinking.
Flooded by superficial communication, we find ourselves distant, preoccupied, and paradoxically, alone. Her words will undoubtedly resonate with anyone who has ever found her focus fragmented by ringtones and notifications, or felt a friendship shrink to a string of text messages and Facebook exchanges.
We ramp up the volume and velocity of communication, but we start to expect fast answers, and yet in order to get them we ask each other simpler questions, we start to dumb down our communication, even on the most important matters.
Truncating our space for expression and our time for contemplation, digital communication curtails the complex questions that form the crux of the humanities. From this vantage, the future of literature, philosophy, history and the like seems bleak indeed.
I find it interesting, too, that Turkle turns to Shakespeare at this moment in her speech. This impulse to return to the classics is a trend among those who recognize the ominous implications the Digital Age yields—both for society at large and for the humanities specifically.
There is an undeniable logic to this urge. Overwhelmed by the complexities of the Digital Age, we seek out the great works that exist beyond it, unsullied by its complications. Such texts offer us familiarity, clarity, and, in many cases, insight: And yet, perhaps there are other texts—texts born in and from the Digital Age—that are in some ways better suited to articulate and examine the specific challenges this era holds.
A Headcase, which features a sassy and alienated video-artist coming of age in Seattle. Seventeen is no place to be. You want to get out, you want to shake off a self like old dead skin. You text your head off.
We live through sound and light—through our technologies. But this passage—with its references to texting and guerilla filmmaking, and with its astute imagining of a self constructed through sound and light—departs from established literary conventions in important ways.
With Dora, Yuknawvitch plunges us into a fictional realm in which intimacy, expression, agency, and art prove inextricable from the technologies that produce and transmit them.
By weaving culturally specific technologies into the fabric of its narrative, the novel offers a fictional framework to explore the intricacies of the Digital Age.
Best-known for her luminous, immensely popular memoir Wild: In turn, her audience—the virtual community of readers that gather to receive her guidance—defy expectations of internet commentary and communication.
Instead, he offers Sugar a list.
|Great Books in a Digital Age? | National Affairs||Art, Aura and Authenticity How has capitalism affected our experiences of art and the media? In the third of his eight-part series on critical theorist Walter Benjamin, Andrew Robinson examines Benjamin's famous thesis that mechanical reproduction has transformed the arts, and explores what a 'political art' might look like.|
|Home | Turnitin||Art Form for the Digital Age Video games shape our culture.|
|the selfiexploratory||He loves mixing media. T he galleries linked to below show examples of His Realistic Paintings, and are grouped by theme rather than media.|
|Jonathan Stray||In the perspective of the history of art,  artistic works have existed for almost as long as humankind:|
|Electronic Literature: What is it?||Christina is a photojournalist for Revolutionary Media.|
Here are some excerpts:"Art Form For The Digital Age" Summary “Art Form For The Digital Age,” by Henry Jenkins is about gaming expanding and how it's being considered a digital art.
The growing game industry is said to be the most growing form of art in the economy today. The gaming industry has grown tremendously in . “Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours.
Deadline for schools to return the AP Participation Form and Participation Survey. Art Form for the Digital Age This web page was designed and created by Anne Kapler.
designers rather than filmmakers.
Find video game chats. The time has come to take games seriously as an important new popular art shaping. "Art Form For The Digital Age" Summary “Art Form For The Digital Age,” by Henry Jenkins is about gaming expanding and how it's being considered a digital art. Art therapy (not to be confused with arts therapy which includes other creative therapies such as drama therapy and music therapy) is a creative method of expression used as a therapeutic technique.
Art therapy, as a creative arts therapy modality, originated in the fields of art and psychotherapy and may vary in definition.. Art therapy may focus on the creative art-making process itself, as.