The Centre for Internet and Society
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Figures of Learning: The Conditional Artist
http://editors.cis-india.org/raw/the-conditional-artist
<b>As part of its Making Methods for Digital Humanities project, CIS-RAW organized two consultations on new figures of learning in the digital context. For a proposed journal issue on the theme of ‘bodies of knowledge’ which draws upon these conversations, participants were invited to write short sketches on these figures of learning. This abstract by Tara Kelton explores the conditional artist, and the outcomes of inserting chance in the realization of art work through the use of new multimedia and digital technologies. </b>
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<p style="text-align: justify;">For five weeks George Korsmit and his assistants worked from a platform on a mobile scaffold to create this largescale mural. The corner points of each quadrilateral and the colors used to fill it in were determined within specific parameters by throwing dice.</p>
<p style="text-align: justify;">This annotated visual essay presents the strategy in which artists provide instructions/parameters for the creation of artworks, to be executed by hired labour / users and describes how contemporary practitioners have employed this strategy across new technologies and webbased services such as Amazon’s Mechanical Turks, YouTube and Facebook.</p>
<p style="text-align: justify;">By inserting chance into the realization of artworks, a distance is created between the artist and the product, and the artist cannot predict a precise outcome this results in new, unexpected visual forms and potentially infinite variation. The relationship between human gesture and interface is inverted rather than using a mouse to command software interfaces, instead, computational parameters direct human gestures. The essay will also demonstrate how instructional art strategies are used as tools for critiquing systems of power, both on and offline, drawing attention to the invisible labor that powers these systems, using their own mechanisms.</p>
<p style="text-align: justify;">Visual examples include both the historical and contemporary, from the work of early conceptual and computer artists (Sol Lewitt, John Baldessari) to present day art and design practitioners (Studio Moniker, IOCOSE).</p>
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For more details visit <a href='http://editors.cis-india.org/raw/the-conditional-artist'>http://editors.cis-india.org/raw/the-conditional-artist</a>
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No publisherTara KeltonResearchResearchers at WorkDigital KnowledgeFigures of Learning2015-11-13T05:42:25ZBlog EntryFigures of Learning: The Reader
http://editors.cis-india.org/raw/figures-of-learning-the-reader
<b>As part of its Making Methods for Digital Humanities project, CIS-RAW organized two consultations on new figures of learning in the digital context. For a proposed journal issue on the theme of ‘bodies of knowledge’ which draws upon these conversations, participants were invited to write short sketches on these figures of learning. This abstract by P.P Sneha examines the figure of the reader, and the manner in which it is redefined in as text and practices of reading are reconstituted in the digital context.</b>
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<h2>The Reader</h2>
<h3>P.P. Sneha</h3>
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<p>The reader is a common figure of learning; we are all readers of one kind or another in an abstract sense. But practices of reading and writing have changed with the advent and proliferation of the internet and digital technologies. Be it your Kindle or updates on your Twitter feed or FB page, reading and writing have both been rendered as extremely technologised processes, more so than they already were, because of the mediation of the machine at different levels. At one level it is the encounter with the screen in our daily lives, the changing materiality of the text and how that determines the practices of meaning-making. At another, we can also connect this to larger questions of textuality itself, and the nature of the ‘digital text’. So is there a new kind of reader being constructed through these changing technologies of reading and writing? Within the varied and multi-layered space that is the ‘digital’, we can revisit the understanding of reading and writing as technologised processes through an exploration of the reader as a figure of learning. This brief sketch will examine the reader as a figure of learning, and her transition to the machine reader in the digital context.</p>
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<p>Particularly in the age of big data and excess information, and with the introduction of methods such as speed reading, machine reading, distant reading, and not reading, we are in essence being taught or forced to read a certain way. An immediate concern for a lot of traditional humanists is the loss of criticality, as they see the sudden influx of new technologies as taking away from more accepted and conventional methods of reading, such as close reading for example. But what are the practices of reading engendered by the digital? The little variations in text, tagging, marginalia, errata or the glitch that now take precedence in the way one interprets or reads a text; do they add on, fundamentally change or produce a shift in the process of meaning-making is a question to contend with. Reading as a social or collective process is one prominent aspect of this change. The sociality of reading is more pronounced in the digital context; but at the same time it also strangely obscures this with the increasing portability and customisation of devices to suit different kinds of reading needs. The role of affect in the process of reading then becomes prominent.</p>
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<p>Questions about authorship and authority over meaning would be more than relevant in this instance too, as the individual reader slowly gets replaced by more collective methods of reading and knowledge production. Online knowledge repositories such as the Wikipedia and a several dynamic archives have fostered and actively encouraged processes of collaborative knowledge production. In a reiteration of the classic debate on the death of the author, one now finds the role of reader in the traditional sense becoming more diminished, as the text itself takes precedence in the determination of meaning, and calls for a different kind of competence from the reader. Most importantly, it also suggests a change in the understanding of text and textuality in the digital space, with the possibility of innumerable readings with the help of algorithms emerging as a new textual practice. The possibility of reading data as text also hints towards a new kind of ‘machine reader’, or reading practice completely mediated by or reliant on the machine and unverifiable by the human subject. The emergence of new fields of scholarship such as the Digital Humanities also suggest these changes, and it may be worthwhile to examine how the text and practices of reading are constituted or reconstituted in such a space.</p>
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For more details visit <a href='http://editors.cis-india.org/raw/figures-of-learning-the-reader'>http://editors.cis-india.org/raw/figures-of-learning-the-reader</a>
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No publishersneha-ppResearchResearchers at WorkDigital KnowledgeFigures of Learning2015-11-13T05:48:57ZBlog EntryFigures of Learning: The Pornographer
http://editors.cis-india.org/raw/figures-of-learning-the-pornographer
<b>As part of its Making Methods for Digital Humanities project, CIS-RAW organized two consultations on new figures of learning in the digital context. For a proposed journal issue on the theme of 'bodies of knowledge' which draws upon these conversations, participants were invited to write short sketches on these figures of learning. This abstract by Namita Malhotra examines the figure of the pornographer, as a mixed media figure entrenched in various networks of knowledge production, circulation and consumption. </b>
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<p>Making Methods for Digital Humanities (2M4DH) project seeks to make specific interventions around methods in the larger debates and practices of Digital Humanities, which includes producing content within the field, building a living repository of knowledge content by developing methods as well as interfaces, platforms and knowledge infrastructure, and bringing together a range of practitioners, performers and researchers from different disciplines who are not necessarily only working on the digital. As part of this project two consultations were held in Bangalore, around figures of learning in the digital context. The following is a series of abstracts for a proposed journal issue, that perform multi-media writing, bringing in artistic practice, video, sound and theoretical concepts to describe a particular practice of learning and knowledge in India and focus on a specific body, figure or person that is at the centre of that knowledge practice.</p>
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<h2>The Pornographer</h2>
<h3>Namita A. Malhotra</h3>
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<p>The figure of the pornographer is deeply embedded in a network, and this allows for a rhizomatic appearance of other figures. Like the figure within the pornographic video, image or text, which is usually a woman since there is most global circulation of heterosexual pornography (as deduced from statistics from Youporn). This feminized figure in the pornographic video is vulnerable to our intrusive gaze, receptive to our desires, subject of urban legends; s/he is a fictionalized character in a Bollywood film (Devdas, Love Sex Dhoka, Ragini MMS) or a celebrity with a cloud account like Jennifer Lawrence. In the Indian and broadly Asian context where there is wide circulation of amateur porn, s/he could be anybody, an ordinary person whose semi-nudity or nudity is what makes the video extraordinary and watchable.</p>
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<p>The pornographer also inevitably leads us to figure of the police and the judge, those who often invisibilize the pornographer. Pornography is a phenomenon that engulfs and occasionally excuses the particular crime of the pornographer, even as it exposes how treacherously pornographic we all are. The pornographer on the network is a slippery figure, their transactions are unfixable and their actions are often transferred to the next node on the network (Nishant Shah, Subject to Technologies <a name="_ednref1" href="#_edn1">[i]</a>). Other figures also appear around whom the regulation of the internet is configured - such as the child whose innocence must be protected and whose curiosity is the market, or the adulterer whose affairs and online sex addiction threaten the institution of marriage.</p>
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<p>Ontology in the digitalscape is also about the object that is being looked at, whether video or image or text. Can we know what this object looks back at even as it is lusted for by the pornographer, hunted down by the police and examined by the judge? Can we understand the experience of the object since it moves, feels, responds much like we do (Barker, The Tactile Eye <a name="_ednref2" href="#_edn2">[ii]</a>) Other intriguing non-human figures also populate the pornographic scape, like the humanized yet robotic Gif caught in a repetitive loop that regardless of the imagery produces a delight and frisson, like a surprisingly responsive toy. Which perhaps would remind us of similar figures like the Bot that behaves and acts as a human, consumes bandwidth, promotes websites, rollseyes and follows and unfollows. Both figures and objects occupy the field that we want to understand.</p>
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<p>Returning to the figure of the pornographer, they have the habits of a knowledge seeker though different from that of the scholar in an archive that is looking for history, narrative and depth. The pornographer skim reads, rapidly going from one link to the next, rejecting, choosing, enjoying fragmented pleasures and moving on. The relationship is tactile but brief, a surface encounter. The pornographer is a creator, consumer and distributor; sometimes contributing stories from their personal history to websites like Savita Bhabhi so that they can be inspiration for new comics, making amateur porn videos with cell phones and uploading them, commenting and linking to content, selling phones preloaded with pornography. The pornographer is a pirate, caught in the same discourse of criminalization, and often if the crimes of one are not convincing then one stands in for the other in legal and public discourse.</p>
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<p>The pornographer can also be likened to the parasite as a figure that produces disorder and generates a new order (Michel Serres, The Parasite <a name="_ednref3" href="#_edn3">[iii]</a>), or that it stores (sucks) energy and then redirects it (Matteo Pasquinelli, Animal Spirits: A Bestiary of the Commons <a name="_ednref4" href="#_edn4">[iv]</a>). A vivid description of how pornographers are the points of conversion is as follows - "Netporn converts libidinal flows into money and daily siphons a huge bandwidth on a global scale. Netporn transforms libido into pure electricity: exactly as file-sharing networks are reincarnated as an army of MP3 players, Free Software helps to sell more IBM hardware and Second Life avatars consume as much electricity as the average Brazilian." (Pasquinelli)</p>
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<p style="text-align: justify;">The pornographer is self-taught, exiled, ashamed, an inveterate collector, insatiable, a bundle of shame and energy, all wires within lit and chasing. The pornographer is a criminal, a voyeur, a seducer and con artist. The pornographer is a godman caught in the act, a shaman of conversions in the digital, a gluttonous leader of digital consumption.</p>
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<p style="text-align: justify;">Figures can offer insight into a social formation, but also do figures dominate the scape and erase the particular and the subjective? The pornographer leads to an array of other figures and these offer insights into networks of illegality and exchange, into legal and technological mechanisms of control. As easily as these pornographic objects float to the surface of the digital scape, the pornographer (and also others like the pirate) are spectral presences who can only be deduced and whose trails can be followed. The pornographer is then a sort of mixed-media figure, an amalgamate of different assumptions and readings in public discourse, in the law, in networks of the circulation of pornography, in movies that are about their imagined back-stories, and in the ways in which children are warned about risks online.</p>
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<p><a name="_edn1" href="#_ednref1">[i]</a> Nishant Shah, 'Subject to Technology: Internet Pornography, Cyber-terrorism and the Indian State', Inter-Asia Cultural Studies, 8:3, 2007, pp.349 - 366.</p>
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<p><a name="_edn2" href="#_ednref2">[ii]</a> Jennifer Marilyn Barker, <em>The Tactile Eye: Touch and the Cinematic Experience</em>, University of California Press, 2009.</p>
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<p><a name="_edn3" href="#_ednref3">[iii]</a> Michel Serres, <em>The Parasite: Posthumanities</em>, University of Minnesota Press, 2007.</p>
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<p><a name="_edn4" href="#_ednref4">[iv]</a> Matteo Pasquinelli, <em>Animal Spirits: A Bestiary of the Commons</em> (Series Editor: Geert Lovink), NAi Publishers, Institute of Network Cultures, 2008.</p>
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For more details visit <a href='http://editors.cis-india.org/raw/figures-of-learning-the-pornographer'>http://editors.cis-india.org/raw/figures-of-learning-the-pornographer</a>
</p>
No publishernamitaResearchResearchers at WorkDigital KnowledgeFigures of Learning2015-11-13T05:32:58ZBlog EntryFigures of Learning: The Visual Designer
http://editors.cis-india.org/raw/figures-of-learning-the-visual-designer
<b>As part of its Making Methods for Digital Humanities project, CIS-RAW organized two consultations on new figures of learning in the digital context. For a proposed journal issue on the theme of ‘bodies of knowledge’ which draws upon these conversations, participants were invited to write short sketches on these figures of learning. This abstract by Tejas Pande examines the figure of the visual designer, and emerging practices of mapmaking. </b>
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<p>Making Methods for Digital Humanities (2M4DH) project seeks to make specific interventions around methods in the larger debates and practices of Digital Humanities, which includes producing content within the field, building a living repository of knowledge content by developing methods as well as interfaces, platforms and knowledge infrastructure, and bringing together a range of practitioners, performers and researchers from different disciplines who are not necessarily only working on the digital. As part of this project two consultations were held in Bangalore, around <a href="http://cis-india.org/raw/digital-humanities/consultation-new-figures-of-learning-in-digital-context"> figures of learning in the digital context.</a> The following is a series of abstracts for a proposed journal issue, that perform multi-media writing, bringing in artistic practice, video, sound and theoretical concepts to describe a particular practice of learning and knowledge in India and focus on a specific body, figure or person that is at the centre of that knowledge practice.</p>
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<h2>The Visual Designer</h2>
<h3>Tejas Pande</h3>
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<p>Mapping is the visual articulation of a living complex system, and locates itself at the nodes that allow for exchanges of knowledge from diverse disciplines. Over the course of history, it has come to represent exchanges of information of a very diverse nature. Commonly associated with representations of physical spaces, maps have since accommodated a growing need to chalk out relationships between spaces (physical, or temporal), ideologies, and institutions. This expanded notion of mapping has affected the way creators of maps regard the practice of mapmaking itself. Armed with a growing arsenal of tools (offline and web-based) to map such networks with, mapmaking has opened up to a host of professionals, amateurs, and anyone else with a desire to express spatial-temporal relationships.</p>
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<p>In such contexts, it is worthwhile to ask ourselves what is the role of traditional scientists, cartographers, and visual designers, who have been responsible for assimilating knowledge and making it visually palatable for wider audiences. The role of such mapmakers is further complicated by the expanded view of the craft of designing itself. For instance, graphic designer Aris Venetikidis began appearing on social media feeds in 2012 after his contribution to TEDx Dublin as the mapmaker genius behind the redesigned prototype of the Dublin Bus system. The new visualisation was met with critical praise, but interestingly his design process had steered the original mapmaking effort into that of quasi-transportation planning. Traditional mapmakers are being forced to intimately understand flows that constitute systems they wish to represent for others. Visual studies have historically emphasized decoding information embedded in collectively-generated syntax. Increasingly, multi-disciplinary practices have forced traditional designers to refashion their role in larger processes of production. What if their role was framed in the context of not only the rules of design process and problem definition, but the institutions within whom they operate, as well?</p>
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<p>In my opinion, these figures have come to serve as facilitators in a process of knowledge creation and sharing, and use mapmaking as their primary visual tool to form networks of exchanges. Examples drawn from emerging planning practices, especially in the urban sphere, will be used to examine the role of a mapmaker, too.</p>
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For more details visit <a href='http://editors.cis-india.org/raw/figures-of-learning-the-visual-designer'>http://editors.cis-india.org/raw/figures-of-learning-the-visual-designer</a>
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No publishersneha-ppResearchResearchers at WorkDigital KnowledgeFigures of Learning2015-11-13T05:33:30ZBlog EntryConsultation on Figures of Learning in the Digital Context - Report
http://editors.cis-india.org/raw/digital-humanities/consultation-new-figures-of-learning-in-digital-context
<b>The Researchers at Work (RAW) programme at the Centre for Internet and Society organised a consultation on ‘Figures of Learning in the Digital Context’ on September 22, 2014 in Bangalore. </b>
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<p style="text-align: justify;">Conducted as part of its ‘Making Methods for Digital Humanities’ project, the discussion was an attempt to examine changes in the learning environment with the advent of digital technologies and new modes of knowledge production by mapping concepts and changes around a set of figures of learning, old and new, to understand the discursive shifts that produce and locate them in the contemporary moment. (See the <a href="http://editors.cis-india.org/raw/events/consultation-on-new-figures-of-learning-in-digital-context" class="external-link">concept note here</a>).</p>
<p style="text-align: justify;">The Making Methods project seeks to make specific interventions in structures of learning, methods of storing and documenting information, and processes of interaction and interface design, in an effort to describe and queer the contours of what we understand as the field of Digital Humanities today.</p>
<p style="text-align: justify;">The consultation brought together a small but diverse set of people from different fields. Participants presented on figures of learning drawn from their own fields of research and practice. Archana Prasad, artist and founder of <a href="http://jaaga.in/">JAAGA,</a> Bangalore spoke about the organisation and its growth as an alternative space for learning through collaborative processes in art, design and technology – the studio space made of pallet racks, its various projects and groups that converge at JAAGA reflect this diversity and interdisciplinarity. She spoke about changes in her own role from being a facilitator for diverse groups to come together, to becoming more of a mentor in the later years, the problems of sustainability of such a space and the efforts made through different projects in emphasising learning though peer-to-peer methods. Interesting projects in focus were the participatory artwork and reality game called <a href="http://investmentzone.info/">Investmentzone</a> which is an effort to collaboratively work and transform public spaces and the JAAGA residential study programme. The discussions were useful in understanding processes that can be used to foster alternative and participatory learning environments.</p>
<p style="text-align: justify;">Asim Siddiqui, Ph.D. student at the <a href="http://barefootphilosophers.wordpress.com/">Manipal Centre for Philosophy and Humanities</a>, used the figure of the ‘performer’ to talk about his research enquiry into the philosophy of performative art traditions and the role of the body, performance and practice in learning. He spoke about the relative passivity of the body in the classroom, and the predominance of certain normative discourses within which teaching-learning practices operate and therefore produce a sort of instrumental form of knowledge, which he found problematic. He drew from examples of embodied action in dance, theatre and music to look at how some of these nuances and conflicts may be brought into classroom pedagogy to make it more illustrative and inclusive. This led to an interesting discussion around problems with current teaching-learning practices and the lack of adequate measures to make them contextual and relevant to students’ lived experience. The digital now bringing in a different dimension to learning and the lack of an understanding of the body in the digital space as preventing the possibility of a somatic element to knowledge was also discussed. The problem of disciplinary constraints and the separation of humanities and social sciences came up with reference to technology becoming more prominent in classrooms.</p>
<p style="text-align: justify;">Bitasta Das, instructor and coordinator of the <a href="http://www.iisc.ernet.in/ug/">UG Humanities programme</a> at the Indian Institute of Science, Bangalore spoke further on this issue of separation of the disciplines from her experience of teaching in the UG programme. Her presentation on the ‘distracted inventor’ focussed on the role of technology in the classroom, and how there is a need for teachers to constantly innovate to keep students engaged, particularly in a course such as this. The notion of distraction was a useful contrast to the attention economy debates that have become increasingly prevalent. The possibility of distraction as serendipitous and productive, particularly in science which is also a space of invention and discovery was discussed as one way of taking the idea forward. Some of the work done by students in the programme, under the larger rubric of integration of disciplines, was also presented in the consultation.</p>
<p style="text-align: justify;">Nishant Shah presented on the idea of the production of error in computing, which is also the result of a deliberate and long process or history which can be traced from scribes copying texts to print culture and now to the machine itself, which also produces or re-produces error. He spoke about the gap between the interface and the information that a person consumes in the digital context, which is contrary to what is understood by abbreviations such as Garbage In Garbage Out (GIGO). He sought to critically examine this notion of transparency that the digital supposedly provides, when in effect the notion of error is as much present, but is being effectively effaced in various ways. The production of error therefore is an interesting process in signifying the limits of knowledge, and he proposed the idea of using the figure of the hipster to further explore this process of error or the glitch as a productive one.</p>
<p style="text-align: justify;">Ekta Mittal , media practitioner and one of the founder-members of the media and arts collective <a href="http://maraa.in/about/our-team/">Maraa</a> presented on the figure of the worker, drawing on her research and work on a film on the Bangalore Metro construction workers. The attempt was to break through the existing discourse and simple binaries to present multiple meanings of the city, migrant labour, development, and new narratives of freedom and pleasure. Through documentation of the lives of labourers who belong to different parts of the country and their stories of migration, some of them illegal, and the question of identity and livelihood the film tries to dislocate the figure of the worker from a certain predominant discourse of the marginalised and invisible. The figure of the worker as a ghost, poet, wanderer, and now a lurker who often favours his condition of anonymity and invisibility is something that the presentation also focussed on as a way to take these ideas forward.</p>
<p style="text-align: justify;">The consultation brought together a small but interesting set of people and ideas, this time specifically looking at diverse art and classroom teaching - learning practices. It also brought to the fore several unconventional processes of learning such as gamification, distraction, performance and embodied action that are outside the traditional notion of learning in the context of digital technologies. These ideas would contribute to further initiatives in engaging with larger questions about technology and processes of knowledge production.</p>
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For more details visit <a href='http://editors.cis-india.org/raw/digital-humanities/consultation-new-figures-of-learning-in-digital-context'>http://editors.cis-india.org/raw/digital-humanities/consultation-new-figures-of-learning-in-digital-context</a>
</p>
No publishersnehaResearchResearchers at WorkDigital KnowledgeFigures of Learning2015-11-13T05:37:04ZBlog EntryConsultation on Figures of Learning in the Digital Context
http://editors.cis-india.org/raw/consultation-on-new-figures-of-learning-in-digital-context
<b>The Centre for Internet and Society welcomes you to a consultation on new figures of learning in the digital context at its office in Bangalore on September 22, 2014 from 2 p.m. to 6 p.m.</b>
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<p>The increasing prevalence of the internet and digital technologies today has engendered a new kind of learning environment, which is connected and collaborative, yet also focussed on the individual, with an emphasis on practice. The pervasive influence of technology in teaching-learning practice has also resulted in new tools, processes and platforms, which have added dimensions to learning, and led to the creation of new bodies of knowledge in the digital context. These new figures, spaces, objects and processes, often challenge and inflate given notions of expertise and authority, increasingly locating them outside the familiar framework of the university and a traditional classroom-based approach to learning.</p>
<p>While the processes of knowledge production have been rapidly changing in the last couple of decades, some examples being data mining, distant reading, cultural mapping and design thinking as new ways of parsing, organising, curating and processing information or knowledge, traditionally the point of reference for authoritative ‘figures’ of learning remains the same. These are that of the teacher, facilitator, reader, student, participant etc. However, with the emergence of such new processes of knowledge-making which are largely located in the digital context, one can see the presence of some non-traditional figures of knowledge as well – such as the geek, hacker, blogger, story-teller, worker, designer, activist etc. There are figures which, consciously or unconsciously subvert and redefine certain conventions of knowledge-making practices, by inventing new terms or redefining old ones. More importantly, the emergence of this nomenclature is symptomatic of a change in the predominant discourse that constitutes a particular kind of ‘digital subject’ or entity that inhabits the digital in a particular way.</p>
<p>The present consultation is an exercise to map these concepts and changes around a set of figures of learning, old and new, to understand the discursive shifts that produce them and locate them in the contemporary moment. Participants from diverse areas of research and practice would be invited to make a short ten minute presentation on one such figure, drawn from their area of interest and work, and examine the concepts or notions behind them. This will be followed by group discussions and a 30 minute writing sprint at the end of the consultation to consolidate the discussion.</p>
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For more details visit <a href='http://editors.cis-india.org/raw/consultation-on-new-figures-of-learning-in-digital-context'>http://editors.cis-india.org/raw/consultation-on-new-figures-of-learning-in-digital-context</a>
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No publisherpraskrishnaRAW EventsDigital KnowledgeResearchFigures of LearningResearchers at WorkEvent2015-11-13T05:39:00ZEvent