Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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Iedereen die mij kent weet dat ik een kletskous ben. Echt waar, ik zit vaak op de spreekstoel en geniet van de aandacht. In mijn werk draagt het bij aan goed kunnen kletsen met cliënten en presenteren aan groepen, maar hobbymatig heb ik er nog nooit iets mee gedaan. Toen kwam mijn onderzoek van een jaar naar verhalenvertellers in een vertelgroep, een onderzoek naar minder bekende vormen van cultuurparticipatie.In Nederland zijn er meerdere organisaties die zich met deze praktijk bezig houden, meer dan 150 individuele vertellers en zeker 40 vertelgroepen door het hele land actief.Deze blog is onderdeel van de blogreeks ‘Culturele praktijken in beeld‘
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MoneyLab is a network of artists, activists, and geeks experimenting with forms of financial democratization. Entering the 10th year of the global financial crisis, it still remains a difficult yet crucial task to distinguish old wine from its fancy new bottles. The MoneyLab network questions persistent beliefs, from Calvinist austerity, growth, and up-scaling, to trustless, automated decision making and (anarcho-)capitalist dreams of cybercurrencies and blockchained solutionism.We consider experiments with digital coops, internet-based payment and network-based revenue models as spaces of political imagination, with an equally important aesthetic program. In this second MoneyLab Reader the network delves into topics like the financialization of art; love as a binary proposition on the blockchain; the crowdfunding of livelihood; the cashless society; financial surveillance of the poor; universal basic income as the real McCoy or a real sham; the cooperative answer to Airbnb and Uber; the history of your financial dashboard; and, Hollywood’s narration of the financial crisis. Fintech rushes through our veins, causing a whirlwind of critical concepts, ideas and imaginaries. Welcome to the eye of the storm.
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In 1875 explorer Henry Morton Stanley (UK 1841-1904) produced a photograph of Kabaka (King) Muteesa of Buganda (UG, 1838-1884) and his chiefs. Muteesa’s land was positioned on the northern shore of a body of water that we now call Lake Victo-ria, in a country that would later be named after his kingdom. The three prints of Stanley’s photograph are part of a larger collection that was acquired by the King Baudouin Foundation. They are now in the collection of the Royal Museum for Cen-tral Africa in Tervuren, Belgium.In Uganda, when I broached the subject of this important - in my opinion - historical photograph, almost no one seemed to know about it. But everyone had seen inter-pretations of the image.An engraving based on the photograph of Kabaka Muteesa and his chiefs can be found in a book about Stanley’s journey through East Africa. Here, the faces of the men have been changed. They no longer look like Baganda (subjects of the king of Buganda). The king was, in Stanley’s observation, the light of Africa: a man one could depend on to develop the continent. I therefore assume that the men in the photograph were made to appear not so different from a white British man: the latter would then be able to identify with Muteesa and his chiefs. I consider this engraving to be a misinterpretation of the photograph. In addition, I take the relatively unknown status of the original photograph in Uganda to be symptomatic for the rather exclu-sive preservation of documents that matter to the African continent in the West.I invited artists and art-students to make their own interpretations of Stanley’s photograph in an attempt to add multiple interpretations to the misinterpretation in Stanley’s book.Film credits: Camera and edit of ‘It’s Lukiiko Time’: R. Canon Griffin and Andrea StultiensPuzzling: Andrea StultiensNarration 1 with puzzle: Karis Upton reads Henry ByrneNarration 2 with puzzle: Vasilis van Gemert’s readingScenario of the King’s pictures: Words and reading: Margaret Nagawa. Pictures (in order of appearance): James Augustus Grant, John Hanning Speke, Violet Lynus Nantume, Stella Atal, Henry Morton Stanley, Evelyn Tennant Myers, Dorothy Stanley Tennant, Fred Kato Mutebi, Nathan Omiel, Matt Kayem, Jacob Odama, Papa Shabani, Emmanuel Lwanga, Eva Ddembe, Fred Ndaula, Ronex Ahimbisbwe, Muki-za, Henry Mzili Mujunga, Eria (Sane) Nsubuga, Daudi Karungi, Ian Mwesiga, Piloya Irene, Timothy Erau, Wasswa Donald, Migisha Boyd (b40deep), R. Canon Griffin
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Many visitor studies make social background variables the central point of departure to explain participation patterns. How the past is 'staged', however, also has an influence on those to whom it appeals. This relational perspective calls for new conceptual tools to grasp empirical reality. Inspired by the historical philosophy of Georg Simmel and the literary theory of Mikhail Bakhtin a number of concepts which enable us to grasp the subtle relationship between museum presentations and visitors are presented. Bakhtin's notion of chronotopy serves as a key concept. By linking museum presentations and visitor perceptions with each other, it is also possible to identify certain tendencies within the contemporary museum landscape.
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Speculative and critical design constitutes a lens through which researchers and futurists interrogate (im)possible scenarios. Artifacts produced in this way may provide insights by providing a provocative contrast with our own present society. However, speculative design struggles to reach and engage a broad audience. A transdisciplinary dialogue with narrative and ludic approaches may bring speculative practices to wider publics. To argue for this connection, I examine the contributions of narration and pervasiveness in constructing speculative visions of alternative realities. I propose that a playful approach may elicit curiosity, free exploration and engagement with speculative design, thus supporting more distributed and effective experiences.
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This paper argues that there is a need for a dialogical learning space because soft skills are becoming increasingly important in an ever more unstable labour market. Where once a monological form of education worked to prepare youth for the future, now a dialogue is required. This dialogue, by definition or in the first place seek consensus, but assumes pluralism and even conflict and is thereby intended to be a true departure from the monological nature of education.
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Paper presented at Diversity of Journalisms. ECREA Journalism Studies Section and 26th International Conference of Communication (CICOM) The launch of more than 300 free daily newspapers worldwide during the last 15 years defies the idea that newspaper markets are impossible to penetrate. Although a third of papers closed down in the last ten years, newspaper circulation in most countries with free newspapers is actually higher than before their entry. Readership analysis of free newspapers shows that these papers have a younger audience than paid newspapers, contradicting the notion that young people don’t read newspapers anymore.
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These Proceedings gather the research works presented to the Conference “Diversity of Journalisms: Shaping Complex Media Landscapes”, held in Pamplona (Spain), the 4th and 5th of July, 2011. This event was co-organised by ECREA Journalism Studies Section and the School of Communication of the University of Navarra. In the case of ECREA Journalism Studies Section, one of the thematic units of the European Communication Research and Education Association, this was its second conference, after that one held in Winterthur (Switzerland), 2009. As for the School of Communication of the University of Navarra, this convention was the 26th edition of its International Conference of Communication (CICOM), the most veteran academic congress in the field of communication among all those hosted in a Spanish speaking country.
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Regional news media are facing tough times, as they lose readers and advertisers rapidly. In The Netherlands, circulation decreased from 2.7 million in 1990 to 1.8 million in 2010, household penetration declined from 47 percent to 25 percent, and the number of titles went down from 35 to 18 in the same period. We interviewed managers and executives (2009 - 2010) of nine of the eighteen regional newspapers in The Netherlands, to analyse if and how they consider convergence (the transition to an integrated newsroom) a significant option to regain readers and advertisers. This study is part of a research project on the potential (long-term) consequences of convergence for the organizational structure, the work procedures, journalistic quality, and business models of regional news media. Our first results show that convergence is, indeed, embraced as a solution. However, views on how to approach the new market for online news through an integrated newsroom differ significantly. Management tends to operate safely, experimenting with small projects that can be discontinued easily, while editors and journalists on the work floor wish to invest heavily in both the education of employees and technical convergence on a more structural basis. In its examination of how convergence is strategically and operationally changing regional media in The Netherlands this study is the first of its kind.
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