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Entries in Culture (13)

Monday
Jul162012

True Blood: Religion and Despair (2)

So what is the Truth? Is it possible that True Blood is an extended meditation on the ambiguity of truth in a world where there are fewer and fewer connections between what people say and what they really mean?

Is this the reason that Sooke Stackhouse can hear people’s thoughts and therefore what they are actually thinking? Doesn’t that put her in an exalted, powerful position? Ironically, the fantasy that people’s thoughts can be heard is the ultimate conceit of the powerless, those who cannot use language and discourse to engage in meaningful conversation and meaningful exchange and those whose actions cannot overcome the challenges they face.

Or how about the True Death, which is the only way that vampires can die? Is truth possible in a world so layered with untruths that there is no correspondence between reality, human actions and the choices people have to make to survive?

What happens to reality when the “facts” no longer meaningfully correspond to the experiences people have, when the facts are manufactured to suit the proclivities?

Truth is that True Blood is about lies and how truth cannot exist in a world where everyone is wearing masks, so that they cannot be seen and where their “true” selves are hidden under layers of magic and false beliefs.

Perhaps there is no true self. Perhaps, the course of a human life has been set not by the force of human subjectivity but by an imagined power that has already written the scenarios humans enact and complete? At least, that is what True Blood suggests and what many human belief systems suggest govern the outcomes of human actions.

Who wrote the laws of nature? In True Blood, gods, sorcerers and magicians wrote the laws, which means that human control has been irrevocably lost to forces beyond its control. This is a governing theme in all the shows. Control has been lost. Reality is a sham. As Tara discovers, even death is not absolute. Her transformation into a vampire is one of the most poignant moments in the series, but also one of the most devastating.

Chance, accidents, capriciousness, these are the enemies of the absolutism that vampires seek in the show. They want order and logic to rule, but discover of course that nature is capricious just as humans are and that their well-laid plans never quite work out. They seek truth, but deceive each other and humans as well. They have a hierarchical political structure that is called The Authority, which governs vampires who do not believe anything they say to each other, thus nullifying the foundations of the authority they seek.

Suspicion, innuendo and false claims, this is a small part of the inventory of characteristics not only of vampires but also of humans. Over the last two weeks, True Blood has been pushing the boundaries between reality and fantasy even further as the war between vampires who believe in co-existence with humans and those who do not believe in any form of interaction, other than using humans for food, plays itself out. But, this is also a war between life and death, between hope and despair. Will the medieval world win out over rationality and logic?

Next week, I will explore the show’s premise that we are living in pre-enlightenment times.

Tuesday
Jul102012

True Blood: Religion and Despair (1)

When the HBO show, True Blood began its now multi-season run, most of the stories and themes centered on Bill Compton and Sooke Stackhouse and their struggles to survive a world where reality had no clear and rational foundation and where their love for each other was both dangerous and avant-garde. The first few seasons also circled around relationships between the undead and the living using invocation, prayer and magic to explain the inexplicable. The lifeblood of the show was its use of special effects to conjure up ghosts and various other strange deviations of the human form and human reality. This season, the show has morphed into a profound critique of religion and fundamentalism in the United States and elsewhere.

 
True Blood is not only examining the rise of religion in American life, it is also exploring the pagan underpinnings of so many of the rituals and beliefs that are the foundation for religious obsessions. Religion is unveiled as an alternate reality suffused with rules and processes that are embedded with superstitions, fears and fantasies, medieval in content, outlook and action.


The show's characters find themselves in a world that is governed by magic, superstition and enchantment. The medieval Louisiana village that the characters inhabit is peopled by men and women who can transform into dogs, birds and sorcerers. These people can invoke powerful spirits and control the bodies and minds of the innocent while themselves succumbing to the nether worlds that surround their everyday activities. In this village, there are fairies and fairy worlds. There is necromancy, reincarnation, witchcraft and much more. There are magic spells that overwhelm the bodies of those that use them and an endlessly erotic interaction between vampires and humans that is entirely other worldly in its intensity.


Vampires represent everything that religion promises to humans, from eternal life right through to institutions designed to protect the faithful from themselves and their enemies. But, they are also repugnant figures born from death and always at the edge of extinction. They are the creatures from the borderlands between the living and dead who neither fit into society nor know how to control their desires. When they invoke morality, it is always with ulterior motives. Their bodies are empty but their 'blood' can heal the wounds of humans. As metaphors, vampires represent all the urges humans have to repress and negate. They are weirdly religious and come from the other side, the dark side of humanity. 


Incantations abound in every show. Words can release a vampire child from his or her maker. The right incantation can bring humans back from the dead, awaken spirit worlds, exorcise devils and define the future. The right statement at an appropriate time can shift and even reality allowing it to be shaped by vision and thought.


In fact, it is the power of words that best describes the show's exploration of religion. The right words formulated properly confer upon objects not only the power to be subjects but give willpower and subjectivity to nearly everything and everyone. This is simply an extension of the belief that the words of a priest for example, are enough to forgive the transgressions of sinners or that the baptismal act has the power to cross the line between innocence and belief. The language characters use is steeped in religious symbolism and the power of words is strong enough to bring spirits and witches back from the dead. Bodies can be inhabited by the devil or by other forms of black magic. Make an oath, take an oath — and you have done something sacred with consequences that reach backwards in history and forwards to your own survival. 


True Blood proposes that our culture and our society has returned to pagan times. The enlightenment never happened in 'Bon Temps' — so named because it is a town that has become a repository for the consequences of paganism, a place that exists outside of history. Miracles, both good and bad happen in Bon Temps everyday. Reality is stripped of pretense as the interaction between vampires, witches and magicians becomes a normal part of everyday life. The interface between the supernatural and the real has dissolved in Bon Temps. 


Part two will appear next week.

Friday
Mar092012

Music Videos

To grasp with the ear and the eye is an embodied act. The activity of listening to music or watching a music video goes far beyond "presentation" and into something far more complex that connects our bodies to the screens we watch. 

Music videos combine the many different elements of sound and picture into images. The videos represent the music and they picture bodies that dance — they display not only the physicality of musical creation, but also the potential of audience performance. Music videos, especially the good ones by groups like R.E.M. bring music into the foreground, neither a prop for sight, nor just an aural experience.

They create a space for the performance of meaning, which exceeds and often undermines the mediating layers of image projection. It is the dancing body which music videos call out to, that body which twists and turns, sweats and laughs. It is the body on a vast dance floor that from a distance appears to be one of many, just a cog in a machine, the stuttered movements of Janet and Michael Jackson. But, taken down to the individual, to the release of energy, the release of the body from its everyday constraints, there is suddenly an explosion of sexuality.

This is the haunting look of rock star after rock star straight into the camera, into the living room, beckoning, almost begging for the bodies who watch to join the scene, the stage, the studio. Join us as we dance! The ritualization is so intense that the television screen cannot contain what it shows. Out of this explosion comes the energy of Lolapalooza and the community of Deadheads and the swaying seemingly uniform rhythms of thousands of audiences the world over. Embodied and empowered because of images and sounds.

Tuesday
Dec272011

Transdisciplinarity: A New Learning Paradigm for the Digital Age?

 

I have been an educator, administrator, writer and creative artist for over fourty years. During that time, most of the disciplines with which I have been involved have changed. For better or for worse, the very nature of disciplines (of both an artistic and analytic nature), their function and their role within and outside of institutions has shifted. The context for this change is not just the individual nature or history of one or other disciplines or research practices. Rather, the social and cultural conditions for the creation and communication of ideas, artifacts, knowledge and information have been transformed. From my point of view, this transformation has been extremely positive. It has resulted in the formation of new disciplines and new approaches to comprehending the very complex nature of western societies. However, we are still a long way from developing a holistic understanding of the implications of these social and cultural shifts and this brief essay can only offer a hint as to why so many distinct changes have happened in such a short time. 

From a cultural point of view, the impact of this process of transformation first appeared in a symptomatic fashion in the early 20th century, when the cinema became a mass medium and accelerated with the advent of radio and then television (although there are many parallels with what happened to literature and photography in the 19th century). Networked technologies have added another layer to the changes and another level of complexity to the ways in which ideas are communicated and discussed, as well as learned (and in so doing further fudging the boundaries between disciplines). The conventions that have governed communications processes for over fifty years have been turned inside out by the Internet and this has led to some fundamental redefinitions of information, knowledge, space and time. 

Technology plays a role here, but it is not the only player in what has been a dramatic move from an industrial/agrarian society to a mixed environment that is as dependent on cultural activity, networks and information as it is on the state and conventional notions of political and economic activity. The disjunctures at work in our society and the upheavals caused by profound cultural and social change have begun to affect the orientation, direction and substance of many different academic and art-related disciplines. Although some of these disciplines have been around for a long time, part of my argument in this essay will be that most disciplines have been under stress for the better part of the 20th century. We are very likely in the early stages of a long-term shift in direction and it may take some time yet before that shift is fully understood. One important way of understanding these changes is through the an examination of what has happened to learning in the digital age and the role that technology has played in sustaining and sometimes inhibiting changes in the way learning takes place both inside and outside institutions.  

I will discuss post-secondary institutions because I know them best, but I believe that many of the following arguments apply to most forms of education. Modern universities now operate within a context that is both challenging and undergoing fundamental change. My effort in this essay is to try and understand why some of our disciplines may be in crisis and why transdisciplinarity may be one of the best solutions to that crisis. It is my feeling that a combination of phenomena and a particularly difficult context for education has begun to foreground a series of contradictions that require some elucidation. These include increasing questions about the relevance of university education for the future and questions about how universities manage themselves and what the balance should be among research, teaching, learning and administration. 

 At the same time, I am concerned with the evolving role of disciplines within post-secondary educational institutions and the challenges that a new context is introducing into the learning environment. What is that new context? Well, it is not one thing or one phenomenon; rather, I believe that we are in the midst of a ‘sea change’ in our understanding of the communications setting that is the underpinning for learning, pedagogy and education. This is a bold claim. For example, it is not possible, in my opinion to examine what we teach without linking that to the networked world. Information now flows from so many venues that what we mean by content needs to be examined from many different and sometimes-conflicting perspectives. Educational institutions are becoming one of many possible places that learners can seek information and knowledge, but they are no longer the only place. 

An interesting phenomenon which exemplifies this point and which is enhanced by using the Internet is auto-didacticism, people who teach themselves. A good example of this is in the computer sciences where students as hackers learn programming from each other as well as from sources that are sometimes legitimate and other times not. Another example is the many different ways in which young people alter the computer games that they play. There is a vast movement of gamers who have learned how to ‘patch’ games and introduce ‘mods’ which transform not only the aesthetic of the game, but often its intentions. The marvel of auto-didacticism is the extent to which at least in the digital era, learning turns into networked dialogue among anonymous individuals who dedicate themselves to projects that they are working on. The development of the LINUX operating system (which was the product of thousands of peoples contributions) is a further example of this growing and important shift in how ideas and information are exchanged. All of these examples point towards a complex landscape in which learning takes place within a variety of different settings and where notions of authority as well as authorship are under constant pressure.

The digital revolution has disrupted and will continue to disrupt what we mean by learning and how we organize our disciplines. Suffice to say, that to think about transdisciplinarity in a networked world is to think about disciplines in a different and evolving context of interconnection and complex forms of communications and interchange. The fluidity is sometimes startling, but a necessary if not creative condition which can transform the exchange of ideas. Or, put another way, the public sphere is no longer dependent upon the particular forms of dialogue to which we have grown accustomed and new forms will have to be developed. This doesn’t make universities redundant as much as it shifts the ground for the conversations that we can have and has significant implications for the processes of communications that we engage in on a daily basis.

The discipline of Communications (which matured over the last thirty years) perhaps more than others represents the shift from a mono-disciplinary approach to a multi-disciplinary strategy. This may well be its undoing, but at a minimum I believe that communications has helped us to conceptualize as well as explain some of the changes that we are experiencing. The status of disciplines like communications does of course largely depend on the definitions that we apply to the activities of research and practice within both education and society. For example, the fact that there is now a discipline in the universities with the name of media studies is largely the result of the increasing importance of media in society and a growing recognition that critical as well as theoretical research is needed if we are to understand how the media work and what their influence is on our daily lives. The disciplines that we are a part of at universities have grown out of shared social, political, cultural and economic concerns. Disciplines are based on a systematic history, one that includes not only particular methodologies, but also specific concerns that are sustained in a cohesive way over time. 

In Western cultures disciplines developed because of a felt need for sites of rational discourse, reason and a sense that without boundaries knowledge cannot be rigorously pursued or deepened. Yet, those boundaries are neither as natural nor as fixed as the history of disciplines would suggest. Nor should they be. Rather, as with knowledge and learning, the question is how to create sites of engagement, which will support some degree of stability while recognizing the need for continual change and responsiveness to the social, cultural and economic pressures that surround the learning experience.  

Disciplines are examples of the synergistic relationship between the perceived needs of social formations and the common assumption that economic and political progress comes from an educated populace. The assumption that education and progress are linked is of course an eighteenth as well as nineteenth century concept, which developed in part because literacy was assumed to be central to bourgeois society. It was and still would be a heresy to suggest that literacy may not only be found through the comprehension of texts and that there may be many other venues that encourage personal and social growth. I am of course not arguing against the value of literacy, just against the received opinion that to understand means to read, to learn means to write and that reading and writing are the foundation upon which all else is built, especially in the educational system and particularly in the digital age. 

The discipline that I received my doctorate in is Communications. Historically the development of the discipline of communications was the product of a convergence among a nascent media studies, cultural studies, film studies, literary studies, cultural anthropology, semiotics, feminist studies and art history. It is clear that a broader mapping was needed to sustain the multi-disciplinary interests of different scholars. This was also, clearly, a response to changes in our societies. Other areas like linguistics, sociology and political science watched in amazement as communications researchers borrowed and begged from everywhere in order to engage with some of the central cultural and social phenomena of the 20th century. It is fascinating how quickly communications with its sub-disciplines like film studies, media studies and cultural studies spread and how many departments were created or recreated to accommodate faculty and student interest. So, we have an interesting paradox. Aren’t these developments evidence of the ability of disciplines to evolve and change? Doesn’t this suggest that universities are supple and responsive places? This profusion of disciplines also suggests that the antennae of researchers were carefully tuned to the changes going on in society at large. As media became more ubiquitous, as more and more devices of communications appeared, as our entire society geared itself towards a technological shift, many departments and disciplines, many teachers and administrators responded in a positive and constructive manner. 

The paradox is that this is both true and false. It is false because the newer disciplines simply transported earlier intellectual paradigms onto the media for example without due concern for specificity or context. Modernist notions of canon creation allowed and encouraged a few paradigmatic ideas to become central and foundational far too quickly. The relationships among the various disciplines became obscured. Hovering in the background were concerns that interdisciplinarity was simply too general and not specific enough to encourage rigorous scholarship. And then there was the teaching. Because these areas were and are of interest to students who bath in the phantasmagoria of media and culture on an everyday basis, these courses attracted large numbers of students at all levels. People had to be hired to service demand. Doctoral programs grew. More and more conferences were organized by faculty anxious to understand each other’s work. At the same time, expectations about rigour and connections to more traditional disciplines — to the broader constellation of concerns within universities seemed to be of marginal concern. Ironically, this new area, so unaware of how disciplines can quickly lose their edge, so disconnected from similar research going on in other areas, growing so rapidly found itself to be mainstream in society and under attack in the university. 

Somehow, the broad vision of Communications was being transformed into what looked increasingly like literary studies of the 1950’s. The fragmentation was enormous and continues to this day. This would not necessarily be a negative were it not for the fact that the eclecticism (which I believe can and should be supported in certain circumstances) became self-referential. That is, research in the area referred increasingly to literature that most researchers outside of the field would not or could not read. And in universities the reaction to that lack of interaction is that silos go up, walls are built to keep ideas and people out of each other’s purview. There are many disciplines other than Communications that have followed a similar trajectory. 

I am not suggesting that the inherent transdisciplinary character of communications led to these problems. I am suggesting that the way in which that transdisciplinarity is practiced needs to be examined with close attention paid to the tensions between applied forms of research in communications (international policy, for example) and research that is oriented towards criticism, theory and history. It is an irony that just as Communications became increasingly accepted as a discipline, it fractured from within and lost sight of its goals. The most telling example of this is that early research into the Internet came from interdisciplinary scholars in the science and engineering and not from scholars in communications. 

Now, as the technologies of entertainment and communication have become not only ubiquitous but also foundational to everyday life, there is an increasing convergence among the various strands that broadly speaking make up the study of communications. The digital era is very much about the fudging of boundaries and this has increasingly meant that the study of communications cannot and should not be pursued in isolation of the computer sciences or psychology or the neurosciences. These disciplines are also increasingly attracted to more rigourous forms of research in anthropology and communications.   

How does what I have said impact the development, maintenance and continuation of the disciplines I have been talking about? Well, at the same time that we are researching, inventing and reinventing our areas of interest, we need to stay connected to the many ways in which all disciplines are engaged in a similar struggle. That struggle tries to bring purpose to ideas, tries to create a context for a transformed and transformative humanism and tries to connect the value and depth of research to the process of communication among all members of the community (inside and outside of the university) and most importantly, students.

As I have said, with respect to the discipline of Communications, the arrival of a plethora of new instruments of communications, new technologies and new media has created a wonderful opportunity to bring the sciences, engineering, computer sciences, social sciences and humanities together. I am involved in numerous projects with researchers and practitioners with whom I would never normally have had contact. We are transgressing all of the boundaries and mapping a new territory that hopefully will re-energize our teaching and redefine our disciplines. I say this with some pride but also with trepidation. I recognize how fragile this process can be and have been made wary of the potential for politics and competitiveness to interfere with good intentions and well laid plans. Yet, I am hopeful that our students will resist the seemingly natural tendency of our institutions and disciplines to narrow their concerns, and will keep the pot boiling as to the relevance of the courses that they are taking and the information that they are processing and learning.    

Often, the assumption that is made is that technology has been the main cause of the shift that we are presently experiencing. But, I believe that this change has been in the works since the advent of distribution and communications systems for mass culture and the linking of culture to education and learning. In addition, the motor for many of the changes has been scientific research in a variety of fields, but most especially in physics and biology. The integration of science and technology and the strengthening of the social sciences have combined to transform what we mean by subjectivity and human identity. This is in turn has led to a redefinition of our sense of time and of space. In particular, "time" in the early 21st century has less to do with measurement than with flow, which may well be an excellent metaphor for the direction in which our disciplines need to head. So, by way of summary, let me suggest the following:

1. Technology is one of the drivers of change in the shift to transdisciplinary models, but not the only one.

2. The integration of research in the sciences with research that has led to technological innovation and social analysis has been supported by a massive change in communications and distribution systems. This is turn has changed the ways in which we translate innovation into practice. It has also transformed how we locate and sustain change at the economic, social and cultural level. All of these elements have an impact on what we mean by learning and transdisciplinarity.

3. Networks of communication have altered what we mean by information and also how our culture views knowledge and this has had a profound impact on the arts and on the social sciences.

4. These changes have redefined our notions of time and space and our ability to map and develop explanatory models for what is happening around us with the result that different disciplines have had to alter their direction (good examples are geography and architecture).

5. More importantly the metaphors that we normally use to explain change have been altered by the integration of media and images into every aspect of our daily lives. The digital revolution has merely extended the boundaries of these transformative phenomena. 

6. All of this has affected the definitions and explanations of disciplines and it may be the case that transdisciplinarity provides us with the strategies that we need to understand the radically different boundaries within which disciplines must now operate. 

7. There is a strong desire to recognize the importance of convergence between disciplines and research and scholarship. This desire for convergence must also recognize diversity and difference. It will only be possible to move from specialized and closed approaches within disciplines, if we also acknowledge that their relatedness allows us to select what needs to come together, while celebrating separateness, locality and community.

A significant example of these processes at work is that one of the most important of the physical sciences relating to the brain, the neurosciences, has become a combination of anatomy, physiology, chemistry, biology, pharmacology and genetics with a profound concern for culture, ethics and social context. Genetics itself makes use of many different disciplines to achieve its aims (including data visualization). To survive in the 21st century the neurosciences will have to link all of their parts even further and bring genetics, the environment, and the socio-cultural context together in order to develop more complex models of mind.

It may well be the case that no amount of research will produce a grand theory. But, as the great neuroscientist V.S. Ramachandran has suggested, the most puzzling aspect of our existence is that we can ask questions about the physical and psychological nature of the brain and the mind. And we do this as if we can somehow step outside of the parameters of our own physiology and see into consciousness. Whatever the merits of this type of research, it cannot avoid the necessity of integration and the inter-related nature of our disciplines. The need for a common ground has never been greater. The question is, will our institutions be up to the challenge?

Tuesday
Nov292011

Museum in a Hat

(*Museum in a Hat refers to a performance by the artist Robert Filliou during which he would pull things out of a hat and give the objects to other performers or onlookers. The objects were in constant transition as was the museum. Filliou had a profound influence on the avant-garde movement in Canada during the late 1960’s and early 1970’s. Filliou’s performance was described to me by Hank Bull, one of the founders of  The Western Front an alternative artist-run centre in Vancouver, Canada which will be celebrating its 38th anniversary in 2011. 


“I am interested in performance as a double-jointed anti-genre in perpetual crisis.”[1] The speaker is Judy Radul.  

“…these voices [with reference to a performance at The Western Front entitled, One Fine Evening] spoke to  as much as they spoke through  the performers. Pre-recorded voices ordered them about, slogans sprouted from their mouths incongruously, speech was accented, patriarchal, computer generated, motivationally enhanced, theoretically implanted, and, in general, authorially skewed.”[2]

Vancouver and its Cultural Landscape

a

sustaining vision of

the intricate palimpsest-of-relationships

supporting every living/dying

thing ought to inform an enlightened polis;

to imagine oneself interacting

with everything (imaginable) at a strategic

moment: pen, brush, spear to hand

is simply what it’s always been about [3]

This poem by Roy Kiyooka exemplifies many of the themes which have been at the heart of the extraordinary artistic output of The Western Front (hereafter referred to as WF) over the last twenty-four years. Kiyooka plays with the idea of the palimpsest both as a metaphor of erasure and as a way of keeping history present through the traces of our culture’s work with ‘pen, brush and spear’. Nothing ever disappears in this processing of events and of history. Cultural activity builds on the past, even as that past changes with every artistic interpretation of it. Kiyooka was part of a large group of artists, performers, poets and intellectuals who shaped the modernist movement in Vancouver in the 1960's and early 1970's. It was out of this activity that the Western Front was created in 1973. In addition to Kiyooka, Robert Filliou and Ray Johnson were formative influences on the WF. “Ray Johnson visited Vancouver once briefly in 1969 as a guest of the UBC Fine Arts Gallery for an international exhibition of visual/verbal concrete poetry and correspondance art, entitled, Concrete Poetry — an exhibition in four parts which also included contributions by Robert Filliou and the internatiional Fluxus community. Filliou’s first visit was in the summer of 1973 when he came as a guest of the newly founded Western Front Society. The work of both artists, often deliberately ephemeral, used puns, riddles, events and performances to convey ideas….For Filliou, research was the door through which anyone could enter and participate in the creative process. Artists could think of themselves as researchers influencing the culture.”[4]

History and art, the ability to imagine the impossible, to make the real and the imaginary mix, to make the everyday a work of art and to make art a part of the everyday were not just thematic explorations for Kiyooka, Filliou and the many other major artists and performers who came to the WF in the early days. They were at the heart of their sensibilities as artists. The transformation of art from an object-oriented enterprise to a lived experience for artist and community alike is what has defined the WF throughout its history. In some respects, the WF was developed as a community centre with both a service and an artistic mandate. To this day, its facilities are open to booking from members of the community and its festivals and events are attended by a diverse and largely heterogeneous group of people. The WF has a strong sense of the local with an equally profound understanding of the international art scene and a connection into worldwide activities which it has imported into Vancouver on a regular basis. 

If you are interested in reading the rest of this essay, please contact me at r bur nett at ecuad dot ca  


[1]Judy Radul, “You Don’t Say: Voices from the Incongruous Outside,” Catalogue for the Exhibition/Performance, One Fine Evening, Curator, Eric Metcalfe, The Western Front, Vancouver (1996), n.p.

[2] Ibid.

[3] Roy Kiyooka, “Notes Toward a Book of Photoglyphs,” Capilano Review , Second Series: 2 (Spring 1990): 80 quoted in The Verbal and the Visual, Collapse  #2, Vancouver Art Forum Society (1996): 55.

[4] Michael Morris and Vincent Trasov, “Letter from Berlin,” in Robert Filliou: From Political to Poetical Economy, Exhibition catalogue, Morris and Helen Belkin Art Gallery, 1994, pp.72-73.

Tuesday
Nov012011

Virtual/Real/Virtual (1)

(This is a written version of a speech given in Toronto in October at DIGIFEST)

Prologue

The age of virtualization is changing. When the digital adventure began in the early 1980’s, the future of computers and hence the digital age was unclear, even fuzzy. Today, after 30 years of experimentation it is pretty clear that there have been some tremendous successes and also some clear failures.

I want to approach the issue of virtualization with great care. And, my approach will be framed by a deep concern for what is happening to our learning environments.

So, let me start by talking about space, that is, architectural and public space. The recent and continuing protests that began in New York and have spread worldwide are important indicators of what is happening to the generation that has been most influenced by the technologies we now take for granted.

Keep in mind, that technologies that virtualize break down as many barriers as they build up. So, when protestors get together in a park and create a variety of methodologies to develop consensus, to manage their affairs, to provide services, they are engaging in the type of face to face contact that completely transforms not only their perceptions of each other, but also their perceptions of the world. Virtual encounters inside and through screen based technologies permit exchanges of a similar sort, but these are qualitatively different from what is happening in Zucotti Park or Vancouver or Toronto.

The need to explore embodied relationships suggests that the increasingly complex mix of the virtual and the real will be measured against our experiences of each other in the real world and not vice versa.

The protestors in New York and elsewhere are using what to them is a novel approach to the discussions that they are having with each other. In a version of broken telephone, they are communicating their ideas to each other through individual repetition. People are transmitting the core ideas behind the protests using an oral tradition of storytelling. This is being done to strengthen their resolve and to personalize the relationships that they have with each other, but also to transform each conversation into a memorable one. In a period of history when conversations are fleeting and efforts to hold onto our memories are dictated by reminders, phones and computers, orality is both central and ephemeral to these protests. 

So it is ironic that in the Facebook age when short form communications dominate, that the protestors have turned to oral traditions that are thousands of years old, a mixture of the Greek polis and the Roman square.

Virtual communications have always seemed an efficient way of promoting interactions across numerous boundaries and this has challenged conventional forms of communications. The irony is that the virtual cannot exist without the real. The mistake we have been making has been to celebrate the virtual as an end in itself. For example, we talk about video games without talking enough about video gamers. We discuss Facebook through the interface and restrictions it provides and not about the potential shifts in human relations generated by  virtual interactions.

And, this mistake will not be very easy to overturn. Virtual spaces are just too attractive and the ease of use, the genuine feel and form of interactions, the potential to be a broadcaster with an audience, however small is a very powerful attraction. 

Part Two can be found here.

Monday
Sep122011

On The Topic of Culture (2)

(This the second part of a reedited presentation to the Arts Umbrella community from September 7, 2011. The first part can be found here.)

Digital cultures are hugely democratizing because they encourage many different forms of creative output, but this does not mean that the works being produced will find a significant place in our society. In fact, we now need more and more sophisticated curatorial strategies to even understand the range of what is being produced. So much is being created that we are inverting and dissolving conventional notions of high and low culture and this is leading to what I will describe as a series of micro-cultures. Micro cultures are both an exciting development and also full of pitfalls. They reflect the increasing fragmentation of cultural activity into interest groups often driven by very narrow concerns. At the same time, they represent a profound change in the conditions which drive the production of creative work.   

How is that the creation of cultural artifacts that are so essential to our sense of community and nation exist in such a fragile relationship with the population and government? If there is a consensus that the arts are important why do most cultural organizations struggle and in many instances rely on government funding and public philanthropy for their survival? The only conclusion that can be drawn from these contradictions is that cultural creativity is not that essential, which is why cultural organizations are always the first to feel the sting of government cutbacks. I will return to this point in a moment.

Third, the move to identify the arts in particular as functional parts of a cultural economy carries with it many dangers. One of the most serious is that we conflate the deeply felt desire on the part of a significant number of people in our communities to satisfy their yearning to create with the outcomes of that creativity. It is so important to understand that creativity does not necessarily mean that there will be identifiable and valuable outcomes to the process. The key word here is process. It is the same with learning. If all we are aiming for are outcomes, then we will end up with a linear process, one that is predetermined by what we anticipate from it. Part of the joy of creativity and learning how to be creative particularly in the arts is that we don’t know exactly where we will end up nor do we often know why we even began.

The joy here comes from the quest. And if the final object, process or event reflects our deepest sense of what we want to say and why, then that should be enough. As we know, in the present context, it is not.

We need to sharpen our understanding of this contradiction. In the 18th century culture meant something very specific, usually related to crafts and to guilds. Although many of the arts were practiced in elite contexts and produced for the elite, the distinctions between creativity and everyday life were neither sharp nor seen as necessary. In other words, the boundaries between the arts and other activities were permeable.

Over the last fifty years or so that permeability has decreased to the point where creative practices are now classified as one of many professions. In fact, from a policy perspective the systems of classification that we have in place are very convenient. However, and quite ironically, if creators are engaged with their work, they are likely to make a mockery of the classifications largely because the voyage of creative engagement often has no clear purpose. This is in fact the opposite of what traditional professions are designed to accomplish which is why the most current word used to explain how people enter various professions is training. Purpose of course has many meanings as well as outcomes. The same issue haunts research. If it is too directed towards outcomes then there will be few surprises and innovation will be stifled.

Part Three is here   

Sunday
Sep112011

On the Topic of Culture (1)

(This is a reedited version of a speech to the Arts Umbrella Community on September 7, 2011 in Vancouver, Canada)

It is always a challenge to talk about culture, but in particular to offer by way of discourse something new on a subject that is as old as civilization itself. This latter point came to mind when I was viewing Werner Herzog’s new film Cave of Forgotten Dreams which is shot in 3D and takes place in the Chauvet Caves in France. The images in the cave are at least 30,000 years old. They reflect an extraordinary desire to picture the world since they were created under very difficult circumstances, most likely with very little available light but by artists with exceptional talent. The images reflect a deep desire to connect aesthetics with form. They are all closely linked to each other inadvertently creating a narrative that may well have been repeated in many other caves and in many other more distant locations. This suggests that not only is the creation of art fundamental to the human psyche, but also that humans could not survive without it.

As Brian Boyd recently suggested: “A work of art acts like a playground for the mind, a swing or a slide or a merry-go-round of visual or aural or social pattern.” (On the Origin of Stories, 2009: 15)

The integration of play with creativity and curiosity seems transparently clear to those of us who have devoted our lives to the arts, but for reasons that I will discuss today, as much as we recognize the importance of art, we also devalue its role, contribution and voice. This could be one of the great golden ages for the arts. My hope is that it will be. But, there are storm clouds on the horizon that we all need to be watchful about.

Over the last fifteen years, the cultural sector along with the small number of institutions devoted to learning in and for the arts in Canada have been involved in a difficult and challenging debate.

On the one side, some argue that culture is essential to the fabric and nature of Canadian society and that culture defines not only who we are, but also how we live and in some instances how we should live. On the other side, are advocates for what I will describe as the economic argument for the arts using the term Cultural Industries as a catch all for culture’s contribution to the GDP and to the economic well being of our society.

I want to talk to you today about why both positions need revision and rethinking and why we have reached a crucial phase in the broad based discussions that our communities are having about culture and its importance.

First, we need to understand that there are many definitions of culture, so many in fact that the term itself has lost much of its power. This is not a minor issue because in its present usage culture encapsulates nearly everything we do, which means that we have no clear definition for it and no way of distilling what is special about creative engagement and the creative life. This has implications for the role and importance of artistic engagement, because we end up replacing the uniqueness of creativity with assembly line notions of production and consumption.   

Second, it is proving to be very difficult to sustain the argument that creative cultures are essential to our everyday lives. As our economic crisis deepens, various elements of our culture appear superfluous even as people seek out alternative venues to relax, learn and be entertained. Although not a given and very dependent on context, creative work is also meant to challenge, sometimes caustically.

What we are seeing today is a separation among various creative forms with some like interactive gaming appropriating the history of aesthetic expression for popular purposes while others in the fine arts continue to rely on an exclusive gallery system for validation. This separation has its own challenges, not the least of which is the decline of serious art criticism in our newspapers and the almost complete absence of art among mainstream broadcasters.     

At the same time, we are undergoing a massive conversion to digital technologies and it FEELS as if artists are leading the way. I say feels because if you take a close look at what is happening you will notice that cultural creators are still for the most part ensconced in the same fragile relationships that they have always had with the state, the business community and the population at large. Despite all of the discussion of DIY cultures and social media and despite the societal recognition that creativity is at the heart of what we do, the gap between artists and their communities has not changed all that much in the last fifty years.

Part Two can be found here……