Paul Winkler: Migrating from analogue to digital practice

2020 ◽  
Vol 8 (1) ◽  
pp. 107-122
Author(s):  
Dirk de Bruyn
Keyword(s):  
The Self ◽  
Digital Culture ◽  
Image Manipulation ◽  
Moving Image ◽  
Digital Production ◽  
Experimental Animation ◽  
Analogue To Digital ◽  
Cave Painting

This article investigates the self-taught experimental animation practice of German-Australian moving image artist Paul Winkler. His practice embraces an array of image manipulation techniques, some of which he invented. This practice originated in 1964, spanning over 50 years, and has recently productively migrated from analogue to digital production. What happens to this practice when we move to digital production? Winkler’s trajectory offers a case study in the shifts and resilience of experimental animation practice through the lens of Vilém Flusser’s ‘technical image’. Flusser’s concept was developed in response to a pervasive digital culture but also reaches back into proto-cinema, maps and prehistoric cave painting.

The Moving-image Redemption of Orality and Lukács’s Early Writing on the Cinema

2016 ◽  
Author(s):  
Apple Xu Yaping
Keyword(s):  
Real World ◽  
Three Dimensional ◽  
Digital Culture ◽  
Early Writing ◽  
Two Dimensional ◽  
Human Beings ◽  
Moving Image ◽  
Moving Images ◽  
Embodied Engagement

This paper analyzes the early film writing of Georg Lukács, particularly ‘Thoughts Towards an Aesthetic of the Cinema’ (‘Gedanken zu einer Ästhetic des Kino’, 1913), from the perspective of the oral mode of communication and expression, or, orality. It considers that the essence of the orality lies with the embodied engagement of human beings, basing on Walter J. Ong’s ideas of the orality-literacy hypothesis. With such understanding, it argues that the moving image can be the technological redemption of the orality, and suggests that the visual revival of the orality depends on but beyond the optical perception, necessarily involving the spectatorial embodiment. Lukács’s understandings towards the primitive moving-images imply that the revived orality in the visual can reside in two aspects: the mimetic representation of the moving image, and the intersubjective engagement between the two-dimensional screen world and the three-dimensional real world in the cinema experience. Additionally, this paper elucidates such hypothesis of the moving-image redemption of orality with a case study on a digital documentary Life in a Day (dir. Kevin Macdonald, 2011, 95 min.), for the purpose of suggesting the relevance of Lukács’s early thoughts to the recent digital culture and scholarly-discussions on the cinematic ‘affect’.

AAC Collaboration Using the Self-Anchored Rating Scales (SARS): An Aphasia Case Study

2012 ◽  
Vol 21 (4) ◽  
pp. 136-143
Author(s):  
Lynn E. Fox
Keyword(s):  
Augmentative And Alternative Communication ◽  
Rating Scales ◽  
Rating Scale ◽  
Therapeutic Process ◽  
Family Counseling ◽  
The Self ◽  
Alternative Communication ◽  
Her Family ◽  
Solution Focused

Abstract The self-anchored rating scale (SARS) is a technique that augments collaboration between Augmentative and Alternative Communication (AAC) interventionists, their clients, and their clients' support networks. SARS is a technique used in Solution-Focused Brief Therapy, a branch of systemic family counseling. It has been applied to treating speech and language disorders across the life span, and recent case studies show it has promise for promoting adoption and long-term use of high and low tech AAC. I will describe 2 key principles of solution-focused therapy and present 7 steps in the SARS process that illustrate how clinicians can use the SARS to involve a person with aphasia and his or her family in all aspects of the therapeutic process. I will use a case study to illustrate the SARS process and present outcomes for one individual living with aphasia.

Post-digital prosumption and the sharing economy of space: The pay-per-minute cafe

2021 ◽  
pp. 146954052110220
Author(s):  
Alexandra Kviat
Keyword(s):  
Consumer Culture ◽  
Digital Technology ◽  
Sharing Economy ◽  
Digital Culture ◽  
Cultural Impact ◽  
Pricing Policy ◽  
Digital Platforms ◽  
Brick And Mortar ◽  
Physical Spaces

Although prosumption and the sharing economy are currently at the cutting edge of consumer culture research, little attempt has been made to explore the theoretical relationship between these concepts and approach them with a pluralistic, dynamic, nuanced and ethnographically informed lens moving beyond the dichotomies of capitalism versus anti-capitalism, rhetoric versus reality, exploitation versus empowerment and traditional versus digital consumer culture. This article addresses these gaps by focusing on the phenomenon of pay-per-minute cafes – physical spaces inspired by digital culture and meant to apply its principles in the brick-and-mortar servicescape. Drawing on a multi-site, multi-method case study of the world’s first pay-per-minute cafe franchise, the article shows a multitude of ways in which prosumption and the sharing economy, both shaped by different configurations of organisational culture, physical design, food offer and pricing policy, are conceived, interpreted and experienced by the firms and customers across the franchise and argues that conflicts and contradictions arising from this diversity cannot be reduced to the narrative of consumer exploitation. Finally, while both prosumption and the sharing economy are typically defined by the use of digital platforms, this article makes a case for a post-digital approach to consumer culture research, looking into the cultural impact of digital technology on traditional servicescapes.

scholarly journals Self-Categorising and Othering in Migrant Integration: The Case of Entrepreneurs in Berlin

2021 ◽  
Vol 13 (4) ◽  
pp. 2145
Author(s):  
Lubna Rashid ◽  
Silvia Cepeda-García
Keyword(s):  
Economic Integration ◽  
The Self ◽  
Migrant Entrepreneurship ◽  
Migrant Integration

The economic integration of migrants has become increasingly prioritised by European governments. However, Europe’s colonial past and orientalist narratives have contributed to the inevitable othering of migrants, even in the minds of those with the best of intentions. Guided by the self-categorisation theory, we postulate that those involved in supporting migrants to integrate in European societies implicitly categorise them as an out-group, potentially leading to suboptimal integration outcomes and the (inadvertent) exclusion of the very migrants they attempt to integrate. A case study of migrant entrepreneurship support initiatives in Berlin is illustrated as a qualitative, empirical example, providing some evidence for those arguments. The paper concludes with recommendations for practitioners and suggestions for further research.

scholarly journals Storytelling and `Character': Victims, Villains and Heroes in a Case of Technological Change

Organization ◽  
2009 ◽  
Vol 16 (3) ◽  
pp. 425-442 ◽  
Author(s):  
Andrea Whittle ◽  
Frank Mueller ◽  
Anita Mangan
Keyword(s):  
Organizational Change ◽  
Technological Change ◽  
Moral Status ◽  
The Self ◽  
Routine Work ◽  
Social Positioning ◽  
Face Saving ◽  
Positive Light

In this article we examine the role of stories in the temporal development of images of the self at work. Drawing on an in-depth case study of technological change in a UK public-private partnership, we highlight the role of stories in the construction, maintenance and defence of actors' moral status and organizational reputation. The analysis focuses on the development of one `character' as he shifted from the role of innocent victim to implied villain to heroic survivor within the stories constructed during routine work conversations. We argue that stories are intimately linked to the forms of `moral accounting' that serve to deal with the challenges to `face' and social positioning that accompany `failed' organizational change. Stories, we suggest, are likely to be invoked when an interactional encounter threatens the participants' sense of social worth. Stories in which we present ourselves in a positive light—for instance as virtuous, honourable, courageous, caring, committed, competent— comprise a key component of face-saving strategies designed to maintain our social positioning: processes that are often intensified during periods of organizational change.

Defining experimental animation: A follow-up

2020 ◽  
Vol 8 (1) ◽  
pp. 11-31
Author(s):  
Paul Taberham
Keyword(s):  
Creative Process ◽  
Music Videos ◽  
Experimental Animation ◽  
Analogue To Digital ◽  
Unique Relationship

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist’s original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator’s creative process as a further avenue of exploration.

scholarly journals Rethinking the Perceived Self: Samples from Facebook

2014 ◽  
Vol 9 (1) ◽  
pp. 209-228
Author(s):  
Anita Kasabova
Keyword(s):  
Social Media ◽  
Cultural Differences ◽  
The Self ◽  
Age Group ◽  
Active Participant ◽  
The Real ◽  
Group I ◽  
Self Knowledge ◽  
Anglo American

Abstract How the self perceives reality is a traditional topic of research across several disciplines. I examine the perceived self on Facebook, as a case-study of self-knowledge on „classical” social media. Following Blascovich & Bailenson (2011), I consider the distinction between the real and the virtual as relative. Perceptual self-knowledge, filtered through social media, requires rethinking the perceived self in terms of social reality (Neisser, 1993). This claim dovetails Jenkins’s (2013) notion of the self as an active participant in consumption. I argue that the perceived self in social media could be conceived in terms of how it would like to be perceived and appraised by its virtual audience. Using Neisser’s (1993) typology of self-knowledge and Castañeda’s (1983) theory of I-guises, I analyse seven samples from Anglo-American and Bulgarian Facebook sites and show that the perceived self produces itself online as a captivating presence with a credible story. My samples are taken from FB community pages with negligible cultural differences across an online teenage/twens (twixter) age group. I then discuss some problematic aspects of the perceived self online, as well as recent critiques of technoconsumerism.

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