recording and transmission as cultural practices

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RECORDING AND TRANSMISSION AS CULTURAL PRACTICES Ideas inspired by Harold Innis Canadian Media Theorist And James Carey

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Recording and Transmission as Cultural Practices. Ideas inspired by Harold Innis Canadian Media Theorist And James Carey. Cultures require Extension in Space and Endurance through Time. Recording media are Time-Binding. Transmission media are Space-Binding. - PowerPoint PPT Presentation

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Page 1: Recording and Transmission  as  Cultural Practices

RECORDING AND TRANSMISSION

AS CULTURAL PRACTICES

Ideas inspired by Harold InnisCanadian Media Theorist

And James Carey

Page 2: Recording and Transmission  as  Cultural Practices

Cultures requireExtension in Space

andEndurance through Time

Page 3: Recording and Transmission  as  Cultural Practices

Recording media are Time-Binding

Page 4: Recording and Transmission  as  Cultural Practices

Transmission media are Space-Binding

Page 5: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

Page 6: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recording

Page 7: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photography

Page 8: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photography

Page 9: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photographyo Video Recording

Page 10: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photographyo Video Recordingo Archives of All Kinds

Page 11: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photographyo Video Recordingo Archives of All Kindso Monuments, Statues, Graves,

Page 12: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photographyo Video Recordingo Archives of All Kindso Monuments, Statues, Graves,o Rituals, Ceremonies, Stories

Page 13: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Time?

o Sound Recordingo Photographyo Video Recordingo Archives of All Kindso Monuments, Statues, Graves,o Rituals, Ceremonies, Stories o Ultimately, Recording is an

extension of the MEMORY

Page 14: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Page 15: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone

Page 16: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone Telegraph

Page 17: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone Telegraph Television

Page 18: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone Telegraph Television Paper messages, Email, Txt

Page 19: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone Telegraph Television Paper messages, Email, Txt Smoke Signals, Pigeons, Human

Messengers

Page 20: Recording and Transmission  as  Cultural Practices

What Media Do We Use toLink Experiences in Space?

Telephone Telegraph Television Paper messages, Email, Txt Smoke Signals, Pigeons, Human

Messengers Ultimately, transmission is an

extension of transportation (the foot)

Page 21: Recording and Transmission  as  Cultural Practices

The Distinctions Blur Zip a Transmission and Get a

Recording

Unzip a Recording and Get a Transmission

Page 22: Recording and Transmission  as  Cultural Practices

The Balance

A viable culture must balance the need to extend through space with the need to endure in time.

Page 23: Recording and Transmission  as  Cultural Practices

Modern Bias Innis and Carey suggest that we

have invested too much into space-binding and not enough in time-binding media.

What is the consequence?

Page 24: Recording and Transmission  as  Cultural Practices

WITNESSING MEDIA

Page 25: Recording and Transmission  as  Cultural Practices

WITNESSING MEDIA“Witnesses serve as the surrogate sense-

organs of the absent…the means by which experience is supplied to others who lack the original.” (Peters, 709)

Page 26: Recording and Transmission  as  Cultural Practices

Three Media Questions

How does the medium create ontological uncertainty?

How does the medium create epistemological uncertainty?

How does the medium create ethical uncertainty?

Page 27: Recording and Transmission  as  Cultural Practices

ONTOLOGICAL UNCERTAINTY

Ontology deals with questions about what is

Page 28: Recording and Transmission  as  Cultural Practices

ONTOLOGICAL UNCERTAINTY

When you witness a mediated event, what is it you are seeing?

Page 29: Recording and Transmission  as  Cultural Practices

EPISTEMOLOGICAL UNCERTAINTY

Epistemology deals with questions about what can be known (and

how)

Page 30: Recording and Transmission  as  Cultural Practices

EPISTEMOLOGICAL UNCERTAINTY

When you witness a mediated event, how do you know what is

really happening?

Page 31: Recording and Transmission  as  Cultural Practices

ETHICAL UNCERTAINTYEthics deals with questions about

right conduct

Page 32: Recording and Transmission  as  Cultural Practices

ETHICAL UNCERTAINTYWhen you witness a mediated

event, how should you respond?

Page 33: Recording and Transmission  as  Cultural Practices

Space and Time Coordinates

Being there: Presence in

time and space:

Historicity Presence in space but

absent in time

“Live” broadcast: Presence in

time but absent in space

Recording: Absent in Time

and space

Page 34: Recording and Transmission  as  Cultural Practices

The key questions If our experiences are becoming

increasingly mediated, can we deal with the ontological, epistemological, and ethical uncertainties entailed by this kind of witnessing?

Page 35: Recording and Transmission  as  Cultural Practices

The key questions If our experiences are becoming

increasingly mediated, can we deal with the ontological, epistemological, and ethical uncertainties entailed by this kind of witnessing?

Does “being there” still matter?

Page 36: Recording and Transmission  as  Cultural Practices

The key questions If our experiences are becoming

increasingly mediated, can we deal with the ontological, epistemological, and ethical uncertainties entailed by this kind of witnessing?

Does “being there” still matter?

Are there media forms that can create “presence” needed for real participation?