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Lecture 9: Relative Reality:

This lecture explores how digital media influence our expectations of reality and authenticity. Topics include simulations, layers, composites, and the concept of verisimilitude. Key works by Jean Baudrillard and discussions on remediation are covered.

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Lecture 9: Relative Reality:

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  1. Lecture 9:Relative Reality: Professor Victoria Meng How do digital media affect our expectations for verisimilitude?

  2. Lecture Outline: • Key terms and concepts

  3. Lecture Outline: • Key terms and concepts • “Simulacra and Simulations”

  4. Lecture Outline: • Key terms and concepts • “Simulacra and Simulations” • “The Double Logic of Remediation”

  5. Lecture Outline: • Key terms and concepts • “Simulacra and Simulations” • “The Double Logic of Remediation” • Conclusion and questions

  6. Key Terms and Concepts: • Layers • Composites • Simulations • Verisimilitude • Form/Style

  7. Key Term: Layers

  8. Key Terms: Layers and Composite

  9. Key Term: Composite Valerie Leonard

  10. Key Term: Simulation

  11. Key Term: Verisimilitude Verisimilitude: the appearance of being true or real. Super Size Me (Spurlock, 2004)

  12. Key Term: Verisimilitude

  13. Key Term: Verisimilitude Forrest Gump (Zemeckis,1994)

  14. “Simulacra and Simulations” Jean Baudrillard (1929-2007)

  15. “Simulacra and Simulations” • Jean Baudrillard (1929-2007) • Preeminent scholar and media theorist

  16. “Simulacra and Simulations” • Jean Baudrillard (1929-2007) • Preeminent scholar and media theorist • Key work on simulations

  17. “Simulacra and Simulations” How to read Baudrillard (for now):

  18. “Simulacra and Simulations” • How to read Baudrillard (for now): • Don’t worry if you don’t “get it.” Just give it a chance.

  19. “Simulacra and Simulations” • How to read Baudrillard (for now): • Don’t worry if you don’t “get it.” Just give it a chance. • Take it as a provocation – “talk back” to him.

  20. “Simulacra and Simulations” • How to read Baudrillard (for now): • Don’t worry if you don’t “get it.” Just give it a chance. • Take it as a provocation – “talk back” to him. • Read it like poetry. “Feel” it instead of “analyzing” it

  21. “Simulacra and Simulations” “…simulation threatens the difference between ‘true’ and ‘false,’ between ‘real’ and ‘imaginary.’ Since the simulator produces ‘true’ symptoms, is he or she ill or not?” (168)

  22. “Simulacra and Simulations”

  23. “Simulacra and Simulations” Simulations are related to representations. Simulations can change “reality.”

  24. “Simulacra and Simulations”

  25. “The Double Logic of Remediation” Immediacy and Hypermediacy An example of a photo-collage: Just What Is It That Makes Today’s Homes So Different, So Appealing (Richard Hamilton, 1956)

  26. “The Double Logic of Remediation” “…we call the representation of one medium in another remediation, and we will argue that remediation is a defining characteristic of the new digital media.” (45) Immediacy Double Logic of Remediation Hypermediacy

  27. “The Double Logic of Remediation” 1. What kinds of older media are digital media good at remediating?

  28. “The Double Logic of Remediation” 1. What kinds of older media are digital media good at remediating?

  29. “The Double Logic of Remediation” 2. If a work has been remediated, is it an example of the old medium, the new medium, both, or neither?

  30. “The Double Logic of Remediation” 2. If a work has been remediated, is it an example of the old medium, the new medium, both, or neither?

  31. “The Double Logic of Remediation” 3. What are the four modes of remediation that Bolter and Grusin describe, and can you think of your own examples for each mode?

  32. “The Double Logic of Remediation” “Finally, the new medium can remediate by trying to absorb the older medium entirely, so that the discontinuities between the two are minimized.” (47)

  33. “The Double Logic of Remediation” “The very act of remediation, however, ensures that the older medium cannot be entirely effaced; the new medium remains dependent on the older one in acknowledged or unacknowledged ways.” (47)

  34. “The Double Logic of Remediation” 4. Why do we love simulations?

  35. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  36. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  37. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  38. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  39. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  40. “The Double Logic of Remediation” The Polar Express (Zemeckis,1994)

  41. “The Double Logic of Remediation” “[Digital media] are not striving for the real in any metaphysical sense. Instead, the real is defined in terms of the viewer’s experience; it is that which would evoke an immediate (and therefore authentic) emotional response.” (53)

  42. End of Lecture 9 Next Lecture: High-tech, Low-tech: What do “emerging digital media” look and sound like?

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