Zitat: The Life of Thing

If gods and goods can be confused, then so too can commerce and culture. The distinctions that we often draw between the two — and the morality with which we judge them — might well be false. In this case, the trade show precedes culture. Commercial spectacle is the matrix that spawns the cultural institution. Manufacturing creates the museum. And the objects and collections that the museums contain are simply products given special status by the place that holds them. Meanings and significances are projected onto objects rather than intrinsic to them or baked into their material form. The meaning of objects here becomes circumstantial. The same thing somewhere else performs very differently.


Source: Sam Jacobs, Life Amongst Things, in MacGuffin “the Life of Thing”, 2018

Posted by ft, 20. Jan 2019
Property England Museologie Objekt Sam Jacobs

Zitat: Centre-periphery

Im contrast to centre-periphery models, alternative representations of digital humanities have offered new representations of global digital humanities that change the hierarchies of centres and peripheries through a logic of diaspora. From the Greek dia (across) and speirein (to scatter), a “diaspora” is by definition a scattering across the world of people who emerged from a point of origin but have dispersed. (…) the term “diaspora” has become more widely used as global migrations accelerated, often to refer broadly to communities dispersed from a point of origin.

Source: Roopika Risam, New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy; November 2018

Posted by ft, 20. Jan 2019
Property Digital Humanities Digitalisation England Human Migration Internet Culture Roopika Risam

Zitat: Digital humanities

The “digital native” is a young adult reared with laptops, internet access and video games in hand. The concept is a troubling one, as Ester Hargittai argues, complicated by inequalities in access, education, and training that reflect socioeconomic class, geography, and racialized and gendered experiences with technologhy.

(…) Digital humanities pedagogy is not an attempt to teach students particular technical skills, applications, or platforms but a pedagogical approach that enables them to envision a relationship between themselves and knowledge production. As Tanzt Clement has argued: Like pedagogy intended to teach students to read more critical, project-based learning in digital humanities demonstrates that when students learn how to study digital media, they are learning how to study knowledge production as it is represented in symbolic constructs that circulate within information systems that are themselves a form of knowledge production. She further proposes that digital humanities offers students new approaches to multiculturalism, multi modalities, and multimedia. Drawing on this characteristic of digital humanities pedagogy, postcolonial digital pedagogy helps students develop emancipatory digital cultural literacy-an awareness of how digital production is imbricated in the politics, powered neocolonial practices that privilege the epistemologies of the Global North.

Source: Roopika Risam, New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy; November 2018

Posted by ft, 20. Jan 2019
Property Digital Digital Humanities Digitalisation Education England Internet Culture Roopika Risam