Children’s Media Culture: A Key to Libraries of the Future?

Author(s):  
Kirsten Drotner
Problemos ◽  
2009 ◽  
Vol 76 ◽  
pp. 52-65
Author(s):  
Vytautas Rubavičius

Straipsnyje grindžiama nuomonė, jog postmodernybė yra iš modernybės kylantis kapitalizmo sistemos būvis, kuriam būdinga gyvybės suprekinimas ir suišteklinimas. Postmodernybę charakterizuoja populiariosios ir medijų kultūros išplitimas. Tos kultūros apima ne tik kultūros prekes, bet ir vartojimo būdus, įgūdžius ir jų lavinimą. Pastaruoju metu jos kuria nemirtingumo vaizdiniams bei nuojautoms palankią kultūrinę, intelektinę ir pasaulėvaizdinę terpę, kurioje struktūriškai įsitvirtina genetinis diskursas ir jo nustatomos žmogaus ir jo gyvenamo pasaulio aiškinimo gairės. Svarbus šio diskurso bruožas yra technologinis inžinerinis jo pobūdis, išryškėjęs susiejant nano ir biotechnologijas, kuriomis tikimasi įveikti gyvąją ir negyvąją gamtą skiriančią prarają, iš reikalingų atomų bei molekulių kuriant reikalingų ląstelių dalis ir klonuojant gyvas būtybes. Gyvybė suprekinama ir suišteklinama patentuojant gyvybės elementus – genus ir su jais susijusius procesus. Daroma išvada, jog visi genetikos, informatikos ir kitų mokslų laimėjimai, teikiantys žmogaus gyvenimo ilginimo galimybių, kurios palaiko gundančią nemirtingumo idėją, jau yra persmelkti prekinių santykių, tad ir pats nemirtingumas įmanomas tik kaip prekė. Aptariami kai kurie evoliuciniai ir religiniai techno sapiens sampratos aspektai. Detaliau gvildenamos dvi „nemirtingumo“ versijos: Z. Baumano, kuris nemirtingumo pažadą sieja su kompiuterinės technikos plėtra prasidėjus „Antrajai medijų erai“, ir J. Baudrillard’o, tegiančio, jog klonavimo technologijos „apgręžia“ evoliuciją ir žmogų gundo virusiniu ar vėžiniu belyčiu nemirtingumu.Pagrindiniai žodžiai: genetinis diskursas, klonavimas, medijų kultūra, nanobiotechnologijos, nemirtingumas, suprekinimas.Genetic Discourse in Media Culture: Temptation by Commodified ImmoralityVytautas Rubavičius   SummaryPostmodernity is maintained as a stage of the development of capitalism. The difference between modernity and postmodernity is explained in relation to the new sphere of commodification and resourcification, namely, that of life and of all natural living processes. Postmodern media culture, or popular culture, is peopled by signs of immortality and various kinds of immortals – cyborgs, clones, zombies, immortal human beings and others. Thus, culture accustoms a consumer to immortals and immortality which is concidered as the main goal of a human being and evolution. By nano-bio-technologies and genetic discourse this goal is made scientifically valid, thus reachable. Genetic discourse is becoming the fundamental world-view providing focal landmarks for the emerging future. Media culture supports the spreading of genetic discourse and facilitates its understanding. The temptation by immortality can be considered as a version of modernist ideology of human liberation from various natural, social and heavenly bonds. This liberation, and also secularization, is supported by a scientific genetic technological discourse which is becoming a stimulating factor of postmodern media production. The genetic explanation of the world is particularly handy for technological reflexivity: the entire world is as if encapsulated into human genes, which become the principle explaining the mystery of life, evolution and the future of humanity, thus rendering power to produce the human proper form and the future of people. All the possibilities stemming from the new genetic and biotech discoveries fell under the regulation of property relations by patenting, thus making “immortality” – as a temptation and brand – not only an exeptional commodity, but also a political tool and a commodifying force. As the relationships of private property have penetrated natural biogenetic diversity and, having turned it into a resource, the cognitive subject has reached the goal to secularise the Universe, which he has set for himself: only he as the owner and producer of genes lures people with the eternal shapes of the clones and their genetic information, which will be sustained in any location of the Universe. The temptation by “immortality” will become even stronger when the genetic code is mastered. The future of humanity is related to the mixed forms of life, trans-genic or otherwise genetically modified organisms and techno-human forms that will help to postpone, and later to conquer, death. Even thinkers with religious tendencies perceive the technological improvement of human beings as their evolution towards the techno sapiens and consider such a development as an advancement towards the Kingdom of God. The technologization of human beings is imagined in terms of their divination. Yet in this case the character of contemporary science secularising God and obliterating the perception of divinity is overlooked. Two versions of immortality are analyzed more closely – that of Z. Bauman, who links it with the development of computer technologies, and that of J. Baudrillard, who gives a warning that by cloning technologies humanity is trying to inverse the evolution and to return to the undifferentiated state of cells. The conclusion is drawn that regardless of how we understand ‘immortality,’ argue over its reality or unreality, all possibilities to prolong human life granted by genetics, informatics and other advances in science and technologies, which support the tempting idea of immortality, have already been penetrated by commodity relationships; therefore, “immortality” itself will be available only as a commodity.Keywords: cloning, commodification, genetic discourse, immortality, media culture, nano-bio-technologies.


2003 ◽  
Vol 73 (3) ◽  
pp. 309-327 ◽  
Author(s):  
DAVID BUCKINGHAM

In this article, David Buckingham addresses the challenges media educators face in dealing with postmodern media culture. Buckingham begins by outlining the nature of contemporary developments in children's media environments and how these relate to broader changes in their social status. He argues that these developments represent a fundamental challenge to the modernist project of media education, with its emphasis on the production of critical consumers. Buckingham then moves on to draw on his own empirical studies of media classrooms in the United Kingdom. He deals first with the issue of identity formation and the implications of current changes for teaching about representation. Second, he considers the role of play, particularly in relation to students' media production, and the potential limitations of a more ludic, or playful, approach. Buckingham then addresses the difficulties posed by students' use of parody, both ideologically and in terms of learning. Finally, he considers a more comprehensively postmodern approach to media pedagogy. Ultimately, Buckingham suggests that the modernist project cannot simply be abandoned by media educators, but that it does need to be comprehensively reconsidered in light of contemporary developments.


2014 ◽  
pp. 128-138
Author(s):  
Stephanie Hemelryk Donald

2015 ◽  
Vol 11 (2) ◽  
pp. 210-221 ◽  
Author(s):  
Mark Featherstone

This article explores what one might call the dystopia of contemporary screen-based culture through a discussion of the work of Paul Virilio and Bernard Stiegler. Centrally, it explains that the screen might be seen as a negative abyss, where absolute surface creates the effect of infinite depth and a sense of absolute freedom obscures the truth of solipsistic self-reflection and enclosure. It explores this idea through reference to Virilio’s concept of the “squared horizon” and a short history of screen culture that commences with Plato’s myth of the cave, where perceptions of surface and depth clash and contrast in the underworld. It then turns to Friedrich Nietzsche’s use of the idea of the abyss. This work on Plato and Nietzsche brings together the ideas of the screen and the abyss. The article next takes up Edmund Husserl’s notion of the horizon, which structures the human perception of movement through time, and relates this to Virilio’s concept of the negative horizon, which rushes toward humanity rather than endlessly moving into the future. At this point the negative horizon recalls the abyssal screen that is simultaneously infinite distance and absolute surface and the horror of contemporary media culture. Finally, the article reflects on Virilio’s work on technodesertification and disappearance and Stiegler’s theory of the destruction of the delay of desire in the immediacy of drive through attention capture to show how screen culture annihilates the thickness of the thing itself in favor of flat images. In conclusion, the article explains that this is the future of new media culture—the twenty-first-century dystopia of the negative abyss.


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