Method

Chapter 1:

-monuments create sacrifice for specific identities

– learning lessons from different events happening

-Tourism: getting people interested in certain topics and problems and pertaining to our issues

– we want people to participate

 

Chapter 2:

–prob­lem acci­dent: (p.36) the neg­a­tive side of inven­tion also has an impor­tant function.

ex) an auto­mo­bile acci­dent = a link between two options/crises. It is the mate­r­ial basis of elec­tronic mon­u­men­tal­ity: it is an acci­dent, but also teaches us some­thing (future inventions).

*how­ever we decide to mourn accidents/crises, we could always learn some­thing from them but we don’t always decide to

–Wreck­work: a space for thought– an inter­face within which peo­ple and machines mat com­mu­ni­cate (p. 41)

–Traf­fic sphere: (p. 39) a work of chora con­cern­ing three cater­gories of being and dis­course: mythos, logos, and genos.
*musi­cal
*maps a rela­tion­ship b/w an indi­vid­ual and those places that reveal a cat­e­gory within society

–dis­sem­i­na­tion and dis­tri­b­u­tion of ideas: how ideas spread through cul­tures and his­tory
*through the mail– from plants to weeds

–sac­ri­fice: (p.41) a way to under­stand soci­ety
*reveal con­ti­nu­ity through death of dis­con­tin­u­ous beings (mon­u­men­tal func­tion), those who wit­ness sac­ri­fice expe­ri­ence con­ti­nu­ity
*ex) a pho­to­graph shows us sac­ri­fice
* traf­fic fatal­i­ties are a sac­ri­fice on behalf of some “value” that is more imor­tant to the soci­ety than the annual loss of motorists

–Goal of the traf­fic sphere: to make high­way fatal­ies per­cep­ti­ble, think­able, rec­og­niz­able as “sac­ri­fice“
*to shift them form the pri­vate sphere (indiv.) to the pub­lic sphere of col­lec­tive values

–Periph­eral mon­u­ments: (p. 46 + 47) the periph­eral estab­lished a con­nec­tion between an acknowl­edged value (ex: Viet­nam Wall) and the unac­knowl­edged but lived value of the loss in the pri­vate sphere (traf­fic fatal­i­ties)
ex) miss­ing per­son posters around ground zero
ex) AIDS blan­ket: indi­vid­ual loss to col­lec­tive sacrifice

–Abject Genre exam­ple: disaster=traffic fatal­i­ties
*select exist­ing mon­u­ment (Viet­nam wall)
* select organization/agency asso­ci­ated with the dis­as­ter (MADD)
*select a the­ory of the ratio­nale inform­ing the con­sul­ta­tion (Bataille)
* place an elec­tronic dev­ide at the site, designed to link sym­bol­i­cally the estab­lished sac­ri­fice with the unac­knowl­edged sac­ri­fice (com­puter list­ing traf­fic fatal­i­ties)
*rep­re­sent this all on a Web site, includ­ing links to rel­e­vant sites and orga­ni­za­tions and a sim­u­la­tion of the peripheral

= jux­ta­pos­ing traf­fic vic­tims with war dead

 

Chapter 3: This chap­ter is very the­o­ret­i­cal. We talk about dif­fer­ent terms like punc­tum which is an indi­rect sig­nif­i­cance to an image and cog­ni­tive map­ping which relates to Memo­r­ial. In order to com­pose details and gain an audi­ence, we need have an indi­vid­ual impact and a col­lec­tive influ­ence as well through social net­work­ing. The indi­vid­ual needs to rec­og­nize the prob­lem first before any part of your col­lec­tive soci­ety deter­mines it first. We need com­mu­nity along with dif­fer­ent com­pos­ing of knowl­edge and dis­course cir­cu­lat­ing through the web. We need a delib­er­a­tive method of how to cir­cu­late and wit­ness image rea­son­ing and mediation.

–MEmo­ri­als are brought about by the image not by egents themselves

–In a news story you need to have the “dis­as­ter” and the “book”: you need to have the shock­ing effect and you need to have the facts to show your claim

–the task for the Emer­A­gency is to “trans­form the com­po­si­tions of order into com­po­nents of passage”

–art and pop cul­ture– hav­ing the fac­tual infor­ma­tion and the artsy or shock­ing com­po­nents (flashy neon and writing)

– dif­fer­ent tasks to evoke an audience

 

Chapter 4:

“The Emer­A­gency approach is to inter­vene in tourism at the level of prac­tice, and to pro­pose not more pro­mo­tion of what already exists but to pro­duce a new kind of tourist des­ti­na­tion and behav­ior, around which might form an elec­trate civic sphere” (Ulmer 4).

The Emer­A­gency is not pro­mot­ing what already exists, but try­ing to use tac­tics that have sim­i­lar results in order to cre­ate a civic sphere; to pro­mote electracy.

Chapter 5: This chap­ter mainly talks about MEmo­r­ial as an event and how it is val­ued in a spe­cific way or by cer­tain peo­ple. We need to deter­mine what we are “over­look­ing” in our event and why some events are not gained by a col­lec­tive sta­tus. We need to link indi­vid­ual iso­lated inci­dents with a col­lec­tive per­spec­tive. Events need to have this group affect and influ­ence in order to gain the acknowl­edge­ment that this event may need in order to “stand out.” We don’t need to con­vince the com­mu­nity that an event is hap­pen­ing but instead show the value of the topic.

 

 

Chapter 6:

MEmo­r­ial: does not define or ana­lyze the dis­as­ter, rather it dis­cov­ers its mood.
–Can be dis­cov­ered by look­ing at reac­tion of peo­ple online, as well as your own reac­tion to it
–Addresses gap between the dis­as­ter, and the abil­ity of the pub­lic to respond (not the gov­ern­ment, nec­es­sar­ily)
–Does not offer a rea­son for the dis­as­ter, but a hypoth­e­sis of why soci­etal val­ues allow the dis­as­ter to reoccur

The basic act of MEmo­ri­al­iz­ing: accept an event — any event that I rec­og­nize (that looks at me) — as the vehi­cle in a fig­ure whose tenor is soul, sub­ject, spirit. Explore the prop­er­ties of psy­che by means of the inven­tory of attrib­utes — acci­dents– avail­able in the vehi­cle. Learn every­thing about this event as a pro­vi­sional con­tainer that per­mits the feel­ing of Being to come to aware­ness. Com­pare these attrib­utes with those pro­duced by other online. Nego­ti­ate. Are we enraged today?

 

 

Chapter 7:

“Infer­ence does not com­mu­ni­cate mes­sages, it ori­ents me in a cer­tain direc­tion by means of evocation.”

“There is no cen­tral proces­sor, no fixed set of rules but a dis­trib­uted mem­ory, a mem­ory trig­gered by a cue that spreads through the ency­clo­pe­dia, the library, the database…”

“A chora gath­ers infor­ma­tion at the level of images by the means of the rep­e­ti­tion of signifiers.The accu­mu­la­tion of sig­ni­fiers expresses a mood.”

– Arti­cle from D2L Notes:
–video shar­ing within cul­ture
–video shar­ing cre­ates a “cul­tural archive“
–par­tic­i­pa­tion is key
–video shar­ing is part of cog­ni­tive learn­ing
-“we learn through doing“
–story needs to be in motion (method)
–MEmo­r­ial cre­ates a sense of aware­ness with dif­fer­ent issues
–cul­tural form plus social prac­tice (social remix) to cre­ate a
par­tic­i­pa­tory cul­ture
–inno­va­tion is key
–learn from other pop­u­lar forms to com­pose project (sam­pling and repur­pos­ing)
–this invites users to do some­thing with it and to participate

MEmorial notices feelings of virtue and values that may go unrecognized and unappreciated.