TEORIE VĚDY 2/2005

"REMEDIACE"



Obsah


Jay David Bolter – Richard Grusin
Imediace, hypermediace, remediace 5

Stuart Hall
Kódování/dekódování 41

Nicolas Bourriaud
Pobývání v globální kultuře (estetika po MP3) 59

Chris Cutler
Plundrofonie 73

Ann Blair
Dělání poznámek jako umění přenosu 105

Jan Michl
Vidět design jako redesign.
Úvaha o jedné přehlížené stránce chápání a vyučování designu 135


recenze

Jaroslav Balvín
Neosémiotika komiksu 179

Ladislav Tondl
Potřebná a zasvěcená kniha o analytické filozofii 187

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Imediace, hypermediace, remediace
Jay David Bolter – Richard Grusin

Abstract

“Immediacy, Hypermediacy, and Remediation” is a chapter from Jay David Bolter`s and Richard Grusin`s book Remediation. Understanding New Media (Cambridge – London: The MIT Press 1999, pp. 20-50). It presents some basic general assumptions about the process of remediation and its two principal styles or strategies: transparent immediacy and hypermediacy. The authors trace the long and complicated histories of these strategies; point out some of the ways older media have refashioned one another; and argue that new digital media achieve their cultural significance by paying homage to, rivaling, or repurposing – in one word: “remediating” – such earlier media as perspective painting, photography, film, and television.


Kódování/dekódování
Stuart Hall

Abstract

In his famous article Encoding/Decoding, Stuart Hall offers his analysis of the communication process which he approaches in terms of a structure produced and sustained through the articulation of linked but distinctive moments – production, circulation, distribution/consumption, reproduction. He argues that the moments of “encoding” and “decoding” in the discursive form of the message, though only “relatively autonomous” in relation to the communicative process as a whole, are determinate moments. From this general perspective, he proceeds to the analysis of a television communicative process and a television sign as such. Hall claims that there are dominant meanings, that there exists a pattern of “preferred readings;” and these both have the institutional/political/ideological order imprinted in them and have themselves become institutionalized. Hall’s argument ends with the identification of three hypothetical positions from which decodings of a televisual discourse may be constructed. The analysis of the dominant-hegemonic, negotiated and oppositional positions/codes enables him to offer a general conception of the encoding/decoding operations within the television discourse and detect some of the distortions of the television communicative process


Pobývání v globální kultuře (Estetika po MP3)
Nicolas Bourriaud

Abstract

The following is an excerpt from Nicolas Bourriaud`s book on “postproduction,” a critical reinterpretation of the roles, statuses, and functions of art in today`s global culture. Faced with global culture as a giant anamnesis, an enormous mixture of styles, practices, discourses, and media, the task of contemporary art according to Bourriaud is to rewrite modernity: not to start at zero or find oneself encumbered by the storehouse of history, but to inventory and select, to use and download. This way art can help us to establish processes and practices that allow us to pass from consumer culture to a culture of activity, from a passiveness toward available signs to practices of accountability.


Plundrofonie
Chris Cutler

Abstract

Until 1977, sound was a thing predicated on its own immediate disappearance, today it is increasingly an object that will outlast its makers and consumers. It declines to disappear, causing a great weight of dead music to press upon the living. What to do with it? An organic response has been to recycle, an answer strenuously resisted by traditional music thinking. Yet, plagiarism, once rejected as insupportable, has today emerged both as a standard procedure and a consciously self-reflexive activity, raising vexed debates about ownership, originality, copyright, skill and cultural exhaustion. This essay attempts to sketch the history of plunderphonics and relate it to the paradigm shift initiated by the advent of sound recording.



Dělání poznámek jako umění přenosu
Ann Blair

Abstract

The article focuses on the significance of note taking which constitutes a central but often hidden phase in the transmission of knowledge. It presents various possible classifications of notes; defines consistent features of note taking that are identifiable across many differences of time and place; analyzes the changing relationship between note taking and memory; and the impact of the different kinds of note taking on the way we think and write.


Vidět Design jako redesign
(Úvaha o jedné přehlížené stránce chápání a vyučování designu)
Jan Michl

Abstract

The article proposes the notion of “redesign” as a concept capable of introducing a perspective that expands the notion of design. It underlines the fact that – both as process and product – design always contains a collective, cooperative, and cumulative dimension.
The author analyzes the history of the term “design” and explains why the term itself is problematic: it is not just its intrinsic meaning but its historical association with natural theologians which makes it focus merely on the single, individual, and most recent creative mind. Thereby it neglects the fact that all new products and solutions, and all their designers, are deeply in debt to earlier products and solutions, and to earlier designers.
The main historical and theoretical contributions to the perspective of redesign are presented and discussed, as well as pedagogical implications of both the traditional concept of design and the newly proposed concept of redesign.