Digital Currents: Chapter 5
1. In reading chapter 5 I couldn't help but think of critiques we have had in class regarding body image. In discussion it seemed to be the general opinion that looking at images of women that have been photoshopped and manipulated into looking like something "better" than nature's norm, has negative affects on the human psyche. On page 159 the author states "the remarkable nature of simulation is that there are no limits to what can be realistically represented." Does the process of glorifying what is not real, regardless of the subject matter, create a world that cannot be achieved leaving people in discontent?
2. With all the hyper stimulation of the senses occuring in digital simulation, are the human senses at a greater risk in everyday life if overloaded with these virtual realities? For example: hearing complications, sight complications, or a lack of empathy?
Digital Currents: Chapter 4
1. The chapter discusses ideas per minute (IPM) in reference to music videos and one's inability to completely absorb all ideas during one sitting of a video do to their extremely compact format. Although this may make videos interesting, if information is lost in translation, what is the purpose of this information overload? Is it simply for effect and not about content? Why take the time to create something that will never be noticed?
2. At the end of chapter 4, the author discusses the medium of video as evolving from an advanced artist medium to that of a standard consumer item. As the art world leads the way with experimantation and manipulation of technology, are they sumaltaneously educating the public to think on a more artistic level within consumerism?
Digital Currents: Chapter 3
1. It seems as though postmodern artists reacted against the information overload of television and the media through acts of conceptual and technological visual processes. While these experiments of communication are incredibly smart on one level, they seem to be too "out there" for the general public to grasp. Is it this movement that gave art a bad name?
2. Lovejoy states that, "television's image flow has created a visual cultural phenomenon...television has the power to transform the public mind set." Why has our culture allowed itself to live through other people's lives and ideas rather than think for themselves? Why is it more interesting to watch Real Housewives than to step to a blank canvas whether it's on a computer, an isle or on the street?
3. Why is "illegal" graffiti art such an offense and the billboard on my street isn't?
The Medium is the Massage
1. On page 61, McLuhan talks about "the idea of detention in a closed space as a form of human punitive corrective action." This idea follows much dialogue regarding the expansion of the self, relationships, current events, and production. It is interesting to think about this inevitable road of connection that humans are relentlessly conquering through technology in contrast to the above mentioned quote. Is McLuhan implying that infinite connection is freedom and that no connection is hell?
2. In reference to recent studies, it is said that television has negative effects of brainwashing. For instance, if an individual falls asleep to infomercials, this information enters into the subconscious mind affecting that persons reality. Would McLuhan have an opinion on this and if so, would he be for the further manipulation of the affects of television on the viewer/listener or against it?
Digital Currents: Introduction
1. In Digital Currents, the author speaks of the aura of original works of art. She explains that as a result of the Industrial Revolution, original art and its aura became endangered due to the abundance of media. Does this imply that prior to the industrial revolution, people sought after art that contained some sort of spiritual attraction rather than a monetary or reputable value?
2. Is the media the only force that has ever caused a frenzy to buy art?
