My Knee Hurts For No Reason

For a critical-creative new approach to the study of media reports Amos Bianchi

In the previous post 'thoughts on Zibaldone teaching 'of March 1, 2007 there is evidence of my following assumptions, including that of the current problem of applied technology is a problem of understanding art, or a tendency for students to develop artistic avenues of research aimed only at their own self-understanding of that alien's participation and understanding from colleagues and the same faculty. This attitude may have its primary meaning in the experience art in itself, but can be a constraint in terms of teaching experience. To overcome this, I proposed a recovery of phenomenology. This recovery must also open the same discipline to dialogue with the context of artistic and creative.

These thoughts were shared with elaborate e Francesco Monico, then my proposal is embodied in the following schedule:

method (20 hours):

• stay of proceedings;

• Intentionality;

• levels of meaning;

• Intersubjectivity

I suggested readings are: E. Husserl, the idea of \u200b\u200bphenomenology, Milan 2006; AAVV., phenomenology, Torino 2002, an anthology of songs by Kant, Baudelaire, Poe, Valery, Heidegger, Merleau-Ponty, Foucault.

Poetics (20 hours):

• sharing levels of meaning;

• from the body to the sharing of meaning: what language? Which medium?

• Kitsch;

• description.

References are: M. Kundera, The Art of the Novel, Milan 1988; M. Kundera, The Curtain, Milan 2005; anthology of literary texts from the sixteenth to Twentieth century, Rabelais, Cervantes, Sterne, Diderot, Balzac, Flaubert, Dostoevsky, Bulgakov, Broch, Proust.



Laboratory 1 (20 classroom hours):

All students are invited to set up an account, length of your choice, on the perception of sound. The best stories are collected and published on www.lulu.com

Laboratory 2 (20 classroom hours)

Students are invited to bring their own music sound in the classroom of any kind. Through the inter-comparison means to get the description of levels of meaning that describes the class listening to the songs.

Gameshark Platinum Gba

Maresa Lippolis intervention Florian Schneider on http://summit.kein.org/node/190

given in full a very interesting intervention by Florian Schneider appeared on the site of the summit (http://summit.kein.org/node/190), a conference that wants to think about strategies' non-aligned 'in training. Place the link here because it 's just dall'approccio phenomenological and a reflection on the collaboration that you can' reach the definition of a new form of 'intersubjectivity'. "



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Florian Schneider: Collaboration

If one Principle Could be seen to inform the opaque surface of what in the 1990s was called a "new economy" -- the shifts and changes, the dynamics and blockades, the emergencies and habit formations taking place within the realm of immaterial production -- it would certainly be: "Work together".

Facing the challenges of digital technologies, global communications, and networking environments, as well as the inherant ignorance of traditional systems towards these, 'working together' has emerged as an unsystematic mode of collective learning processes.

Slowly and almost unnoticeably, a new word came into vogue. At first sight it might seem the least significant common denominator for describing new modes of working together, yet "collaboration" has become one of the leading terms of an emergent contemporary political sensibility.

Often collapsed into the most utilitarian understanding, 'collaboration' is far more than acting together, as it extends towards a network of interconnected approaches and efforts. Literally meaning working together with others, especially in an intellectual endeavor, the term is nowadays widely used to describe new forms of labour relations within the realm of immaterial production in various fields; yet despite its significant presence there is very little research and theoretical reflection on it. This might be due to a wide range of partly contradictory factors that are interestingly intertwined.

As a pejorative term, collaboration stands for willingly assisting an enemy of one's country, especially an occupying force or malevolent power. It means working together with an agency with which one is not immediately connected. Most prominently, "collaboration" became the slogan of the French Vichy regime after the meeting of Hitler and Marshall Petain in Lontoire-sur-le-Loir in October 1940. In a radio speech Petain officially enlisted the French population to "collaborate" with the German occupiers, while the French resistance movement later branded those who cooperated with the German forces as "collaborators".

Despite these negative origins, the term collaboration is mostly used today as a synonym for cooperation. Dictionary definitions and vernacular uses are generally more or less equivalent; but etymologically, historically and politically it seems to make more sense to elaborate on the actual differences between various coexisting layers of meaning.

Is it in principle, possible to make a relevant distinction between cooperation and collaboration and to what end? If so, what characterizes the constellations, social assemblages and relationships in which people collaborate? And last but not least: Does this have any impact for the current debate on education?

What follows are seven notes and propositions in which I try do adress these questions in a very preliminary, eclectic and sketchy way.

1.

In pedagogical discourse, both cooperation and collaboration are relatively new terms. They emerged in the 1970s in the context of "joint learning activities" and "project-based learning", which were supposed to break with an authoritarian teacher-centred style of guiding the thinking of the student.

What might be defined as "educational teamwork" corresponds to an idea promoted at the same time by management theory; that is, in a teamwork environment, people are supposed to understand and believe that thinking, planning, decisions and actions are better when done in cooperation.

At the beginning of the last century and well ahead of his time, Andrew Carnegie, steel-tycoon and founder of Carnegie Technical Schools, said: "Teamwork is the ability to work together toward a common vision, the ability to direct individual accomplishments toward organizational objectives. It is the fuel that allows common people to attain uncommon results."

To this day, this famous quote has probably featured prominently in a myriad powerpoint presentations by human resource managers across the globe, but its central argument only became a reality in the early 1980s, when the crisis in the car manufacturing industries triggered the first large scale proliferation of the concept of teamwork in the realm of industrial production.

Factories that had hitherto been characterized by a highly specialized division of labour usually coupled with a strong self-organization of the workers in trade unions were turned upside down: teamwork started being considered as a prerequisite for breaking the power of the unions, dropping labour costs and moving towards so-called 'lean' production, which was seen at the time as a response to global competition and the success of Japanese exports to the US and Europe in particular.

In late industrial capitalism the notion of teamwork represented the subjugation of workers' subjectivity to an omnipresent and individualized control regime. The concept of group replaced the classical one of "foremanship" as the disciplining force. Rather than through repression, cost efficiency was increased by means of peer-pressure and the collective identification of relatively small groups of multi-skilled co-workers.

The model of teamwork soon spread across different industries and branches, yet without any great success. Meanwhile, various research studies showed that teams often make the wrong decisions, especially when the task involves solving rather complex problems. Teamwork frequently fails for the simple fact that internalized modes of cooperation are characterized by "hoarding" or stockpiling, quite the opposite of knowledge sharing: in the pursuit of a career, relevant information must be hidden from others. Joining forces in a group or team also increases the likelihood of failure rather than success; awkward group dynamics, unforeseeable external pressures and bad management practices are responsible for the rest.

This overall failure is even more staggering if we consider that rapid technological development and the availability of global intellectual resources were supposed to have increased the pressure on individuals to exchange knowledge within and between groups. Yet as knowledge became the main productive force, neither the free wheeling and well-meaning strategies of anti-authoritarianism nor the brutal force of coercing cooperation seemed capable of establishing any new dimensions of the dynamics of 'working together'.

2.

Increasing evidence shows that 'working together' actually occurs in rather unpredictable and unexpected ways. Rather than through the exertion of the alleged generosity of a group made up of individuals in the pursuit of solidarity, it often works as a brusque and even ungenerous practice, where individuals rely on one another the more they chase their own interests, their mutual dependence arising through the pursuit of their own agendas. Exchange then becomes an effect of necessity rather than one of mutuality, identification or desire.

This entails an initial level of differentiation between cooperation and collaboration: in contrast to cooperation, collaboration is driven by complex realities rather than romantic notions of common grounds or commonality. It is an ambivalent process constituted by a set of paradoxical relationships between co-producers who affect one another.

In "Le Maître ignorant", published in 1983, Jacques Rancière indicates that ignorance is the first virtue of the master or teacher. He gives the example of Joseph Jacotot, an exiled French revolutionary, professor of French literature at the University of Louvain in Belgium from 1815. Jacotot taught French to his Dutch-speaking students in the absence of a shared language, through what appears to be an entirely collaborative method: without setting up a common agenda, identifying a common ground or communicating through a shared set of tools, he "placed himself in his students' hands and told them, through an interpreter, to read half of the book with the aid of the translation, to repeat constantly what they had learned, to quickly read the other half and then to write in French what they thought about it." This "teaching without transmitting knowledge", as Rancière defines it, seemed to be incredibly successful, because it granted a level of autonomy to the students who acquired their own knowledge as they deemed useful and independently from their teacher.

Rancière's example is particularly enlightening in the context of collaboration and its relation to notions of hierarchy which so much of collaborative disoiurse deems to have vanquished. It exposes the hypocrisy of the supposed anti-authoritarianism that essentially underlies many notions of cooperation. This misconception might be seen as the practice of liberally weakening the position of power, yet ignoring the inherent paradox of doing so, so that in an infinite line of regression power reappears even stronger than before. The more it tries to explain, mediate, communicate or teach, the more it reaffirms the distance, inequality and dependency of those who lack knowledge on those who seem to possess it. The same applies to cooperation and teamwork: a presumption of equality actually extends both discrimination and exploitation while seemingly providing continuous evidence in support of such an illusion, as if there were no radically different modes of working together.

3.

The work of Jacotot's students can be seen as a form of collaboration with their teacher that flattens the hierarchies and does away with the teacher-student relationship altogether, without romanticising it. Through collaboration hierarchies are neither criticised nor morally disapproved of and hypocritically discarded. This way of working together is capable of ignoring the ignorance of the ignorant and of pauperizing the poverty of the pauper precisely because collaborators are neither questioning obvious authority nor pretending to be equal. Instead they have worked out a system not of exchange but of flow in which these positions are avoided altogether.

Collaborations are the black holes of knowledge regimes. They willingly produce nothingness, opulence and ill-behaviour. And it is their very vacuity which is their strength. Unlike cooperation, collaboration does not take place for sentimental reasons, for philanthropical impulses or for the sake of efficiency; it arises out of pure self interest. Collaborations could reveal the amazing potential whereby an ignorant, poor or otherwise property-less person can enable another ignorant, poor or otherwise property-less person to know what he or she did not know and to access what he or she did not access. It does not entail the transmission of something from those who have to those who do not , but rather the setting in motion of a chain of unforseen accesses.

Shifting the focus away from its components and outcomes, collaboration is a performative and transformative process: the sudden need to cross the familiar boundaries of one's own experiences, skills and intellectual resources to enter nameless and foreign territories where abilities that had been considered "individual" marvellously merge with those of others. In this sequence, outcomes and processes follow an inverse relation as do the relations of power. For what comes about is not the 'granting' of access but a recognition across the board of those involved in the process, that it is the unexpected multiplicity and uncertain location of the points of access that is at stake in the exchange.

4.

Translating the concept of collaboration back to the context of education also points to a reverse-engineering of the teacher's role. Etymologically, in Greek and Latin "pedagogue" or "educator" means "drawing out" or "pulling out" and refers to an ancient Greek practice: a family slave called "pedagogue" used to walk the child from the private house to a place of learning. Rather than the teacher, who was supposed to have and transmit knowledge, the pedagogue was the person who accompanied the student to the place where the teacher imparted it.

This rather spatial notion of bringing somebody across a specific border evokes striking associations with human trafficking. The escape agent or "coyote" - as it is named at the US-Mexican border - supports undocumented border crossers who want to make it from one nation state to another without the demanded paperwork. Permanently on the move, only temporarily employed, nameless, anonymous and constantly changing faces and sides, the coyote is, in an ironic way, the perfect role-model for both education and collaboration. As a metaphor it serves the purpose of destabalising the idea of 'knowledge in movement' away from its always assumed progressive direction. Instead it allows for a certain degree of illegitimacy inherent in all forms of collaboration and distinguishes it from the always perfectly sanctioned and legitimate nature of cooperation. By extracting a principle of mobility and perceiving the lack of legitimacy as enabling as opposed to criminally inhuman and disabling, the 'coyote' who may or may not be motivated by self gain without ideological committment, produces a possibility whose parameters cannot be gaged.

The "coyote's" motivations remain unclear or, shall we say, do not matter at all. The "coyote" is the postmodern service provider par excellence. The fact that there is no trust whatsoever between those engaging in the transcation, does not actually play any part in the unfolding of its play. Here , we might say, conceptual insecurity overrides the financial aspects of the collaboration and triggers a redundancy of affects and perceptions, feelings and reactions. Those who do not need the coyote's support hunt and demonize it; those who rely on the coyote's secret knowledge and skills appreciate it all the more. The extreme polarities of these responses instantiate the range of the collaborative field and the impossibility of navigating it through moralising vectors.

Ultimately, collaboration with a coyote generates pure potential: ranging from the dream of a better life to the reality of pure living labour power ready to be over-exploited in the informal labour market. If it wasn't for its totally deregulated character, this practice would bear similar results to that of traditional educational systems; we might say that in this exchange nothing can be claimed for material existence, let alone possession, but neverthelss something very precious and entirely precarious comes into being; pure imagination, yet potentially powerful beyond measure.

5.

Against the background of postmodern control society, collaboration is about secretly exchanging knowledge independently of borders. It stands for the attempt to regain autonomy and get hold of immaterial resources in a knowledge-driven economy. It no longer matters who has knowledge and who owns the resources; what matters is access: not a generously granted accessibility but a direct, immediate and instant access, often gained illegally or illegitimately.

While cooperation involves identifiable individuals within and between organizations, collaboration expresses a differentiated relationship made up of heterogeneous elements that are defined as singularities. As such they are not identifiable or subject to easy categories of identity, but defined out of an emergent relation between themselves. As such collaboration is extra-ordinary in so far as it produces a discontinuity and marks a point of unpredictability, however deterministic. Its unpredicatbility takes the form of not being able to entirely categorise the components of the collaborative process, even when its general aim or drive may be steering it in a particular direction.

Rationality has here been replaced by a kind of relationality that constantly decomposes and recomposes information in order to make temporary use of unexpected dynamics and contingencies: from stock market speculation to the development of network protocols, from the production of new forms of aesthetics in art and culture to a generation of political activism with global aspirations.

People meet and work together under circumstances where their efficiency, performance and labour power cannot be singled out and individually measured; everyone's work points to someone else's. Making and maintaining connections seems more important than trying to capture and store ideas. One's own production is very peculiar yet it is generated and often multiplied in networks composed of countless distinct dependencies and constituted by the power to affect and be affected. At no point in the process can this be arrested and ascertained, for it gains its power by not having explicit points of entry or exit as a normative work scenario might.

This excess is essentially beyond measure; collaboration relates to the mathematical definition of singularity as the point where a function goes to infinity or is somehow ill-behaved. The concept of singularity distinguishes collaboration from cooperation and refers to an emerging notion of precariousness, a systemic instability. this in turn can be seen as the crisis associated with the shift and transition from cooperation to collaboration in modes of working together.

The nets of voluntariness, enthusiasm, creativity, immense pressure, ever increasing self-doubt and desperation are temporary and fluid; they take on multiple forms but always refer to a permanent state of insecurity and precariousness, the blue print for widespread forms of occupation and employment within society. They reveal the other side of immaterial labour, hidden in the rhetoric of 'working together'.

6.

Today it is tremendously urgent to learn how to deal with such excess. This is not simply the realm of an exclusive minority of geeks, nerds, drop-outs and neurotic freelancers; it invests a rapidly growing global immaterial labour force that is confronted with the prospect of life-long learning witout the complimentary prospect of there ever having a teacher or a schoolbook in store, because knowledge emerges as useless as soon as it can be commodified and reproduced as such.

The crucial question is how a form of education to collaboration is possible that is not reduced ad absurdum to become the application of truism after truism. Certainly this would not mean the staging of a collaborative process within the classroom or other spaces of learning. This debate can take place at a meta-level or around the issue of "un-organizing" oneself in order to be aware and ready for the future challenges of collaborative working environments. It can takle place in the fragementation of the components of bodies of knowledge and their re-alignemnt with one another according to other principles. Or it can take place in the removing of pre-determined directions around the flows of knowledge.

Cooperation necessarily takes place in client-server architectures. It follows a metaphorical narrative structure, where the coherent assignment of each part and its relation to the others gets reproduced over and over again. The current educational system mirrors this structure and is therefore essentially incapable of responding to contemporary challenges, let alone future ones. Even worse, the more the system attempts to re-modernize itself, the more it sinks in the swamp of commodification, homogenization and hierarchization. Obviously the problem lies with the educational system's understanding of what contemporary imperatives are and its insistance that these must have an 'applicable' function. If a model of collaboration were to be applied to educational cultures , then it would have to accept an inabilty to predetermine outcomes even while sharing a set of aspirations or directives or being anchored in a set of recognised probelamtics.

7.

Collaboration entails rhizomatic structures where knowledge grows exuberantly and proliferates in unforeseeable ways. In contrast to cooperation, which always implies an organic model and a transcendent function, collaboration is a strictly immanent and wild praxis. Every collaborative activity begins and ends within the framework of the collaboration. It has no external goal and cannot be decreed; it is strict intransitivity, it takes place, so to speak, for its own sake.

Collaborations are voracious. Once they are set into motion they can rapidly beset and affect entire modes of production. "Free" or "open source" software development is probably the most prominent example for the transformative power of collaboration to "un-define" the relationships between authors and producers on one side and users and consumers on the other side. It imposes a paradigm that treats every user as a potential collaborator who could effectively join the development of the code regardless of their actual interests and capacities. Participation becomes virtual: It is enough that one could contribute a patch or file an issue, one does not necessarily have to do it in order to enjoy the dynamics, the efficacy and the essential openess of a collaboration.

In the last instance, the democratic or egalitarian ambition has migrated into the realm of virtuality: Open source developer groups usually do not follow the patterns and rules of representative democracy, the radical notion of equality reveals in the general condition that everyone has instant and unrestricted access to the entire set of resources that form a development. The result is as simple as it is convincing: Those who disagree may "fork" and start their own development branch without loosing access to the means of production.

forms of collaboration:

- debugging

- patching

- contributing: cvs

On the internet, distributed non-hierarchical information architectures are characterized as "peer-to-peer" (P2P) networks. They emerged in the 1990s and triggered a revolution of the conventional distribution model. These networks were first designed to exchange immaterial resources such as computing time or bandwidth, mainly in scientific academic contexts. Their aim was to overcome technological limits, incapacities and shortages by combining the existing free resources.

Since the late 1990s the same network architecture has been used to exchange relevant content: music and movies were distributed amongst ordinary personal computers that worked as both downstream and upstream nodes in mushrooming networks.

The enormous success of these projects, from "Napster" to "BitTorrent" - currently estimated to account for nearly half of the total of internet traffic - enabled people who do not know each other and probably prefer to not know each other to actually "share" their hard drives. In fact, their anonymous relationships are based on the irony of sharing, even in a strictly mathematical sense: due to lossless and cost free digital copying the object of desire is indeed multiplied rather than divided.

In the last instance collaborations are driven by the desire to create difference and refuse the absolutistic power of organization. Collaboration entails overcoming scarcity and inequality and struggling for the freedom to produce. It carries an immense social potential, as it is a form of realisation and experience of the unlimited creativity of a multiplicity of all productive practices.

The possibility of relating these notions of collaboration to contemporary education and pedagogy, have less to do with emulating their operating modes and more to do with their ability to inspire a realignment of the relations in the field. Not limited to the seeming good intentions and democratising impulses of the 'working together' dimension of collaboration, in education this might mean rethinking both the direction and flow of its activities. For example the shifting of the focus of attention away from the exclusive direction of instructor to instructed, or shifting the directions of the exchanges that take place towards a circulation that values everything that is already within it. It might also mean thinking education's outcomes away from previously established criteria and towards the ability to constantly affect and restructure ITS own field.

Underbite Alternative To Braces

James Martinoni Alexieff cites the experience of animation

(...) When I compose a picture, I try to put the firm more profitable: it avoids the difficult angles, angles ungrateful. Animating a movie I can not omit any of the aspects for which the logic of the movement is forcing me to go. I have to study many things from which the paint is dispensed: I know optics, physiological optics, psychology, neuropsychology of visual perception (sorry but you call it that), the sensiometria and music (and I forget some).

Stirring the compound pendulums to draw abstract figures, I took the course in elementary physics. In addition, I learned that the man has three ways of perceiving moving objects, depending on their speed in relation to something that I can not explain, and I had chamar rate "observation".

types of modes of observation are: the propeller of an aircraft, seen as a hard translucent and brilliant, "totaled." The moon, which is not seen to move (but you can "aggregation" with a long exposure photo) and finally the way we see that we all know, is who receives the object's shape and its movement (and photography can "aggregation" as well).

The AGGREGATION taught me the relativity of the notions of speed and shape of objects. I can say that the animation shows to learn more about the way in which man sees and thinks. It allowed me to enter the real fourth dimension, opening an unknown universe, of which I used to create new effects.

the same way as the painting develops awareness of colors, values \u200b\u200band shapes, the animation of the movements and develops awareness of the durations.

I spend some wonderful moments in my small garden, to observe the Game of the thousands of children only "soft focus" in the foliage of my lime filtered images. Gives the slightest breeze, this feast of choreography that are unnoticed by you, because you do not do animation.

(...)

Alexandre Alexeieff

From the preface of the book "Cartoons" by Gianalberto Bendazzi.

Hottest Female Roster

Second Life, a debate-discussion

Dog With Toungue That Is Too Big For Its Mouth

Second Life by Mario Gerosa

Naba, Nuova Accademia di Belle Arti Milano, Via Darwin 20, 20144 Milan, March 28, 2007, at 18.00, Aula Magna, elastic space

Meltemi publisher is pleased to invite you to present the book

Second Life , Mario Gerosa

with the author, will be:

Andrea Benassi, research and development to India (National Institute of Documentation for Innovation and Educational Research ) in Florence. He holds SecondLifeBlog.it.

Pierluigi Casolari , journalist, writer, art critic, he studies the intersections between new media, art and culture.

Francesco Monico, media critic, researcher and cultural forms of technological mediation, is the coordinator of the Department of Media Design at the New Academy of Fine Arts in Milan.

Nelva Joseph, a consultant for creations in Second Life, has created a clothing line called Musashi-Do Fashion and launched the brand-Musashi Motorsports.

An event organized by the Meltemi and Naba editor, to talk and reason about Second Life, along with players and experts, and with the use of pictures and photographs of the most popular virtual world.

Second Life is a virtual world, a no man's land and all that anyone can access, for only ten dollars, creating a parallel to real life. With an avatar and a bit 'of Linden $ (the currency of SL, which buys, sells and its price in the real world), you can open a nightclub, a modeling agency, a dealer' s car or a line of virtual clothes.

In SL you can gain prestige, fame, riches are reflected in real life, as happened to the fashion designer Aimee Weber, whose avatar in pigtails and stockings was the protagonist of the show 13 Beautiful Avatars at Columbia University; real estate agent Anshe Chung, who in November 2006 celebrated its first million-dollar transactions real-earned virtual ; the engineer Bruno Echegaray, who created "Parioli", a tribute to Italian style but also a place of experimentation for work and services in SL.

More than 3 million residents from eighty countries and about half a million people who regularly inhabit the different islands in Second Life, from those dedicated to the game with those red-light by simulations of past ages to the scenarios of possible futuristic metropolis of the future, perhaps SL is not the prototype for the Web 3.0, but it is certainly not an example of the trends that are defining the convergence contemporary culture, where every story, mark, report, property intellectual moves on as many media platforms.

Mode, places, devices: who wants to enter the world of Second Life, out of curiosity or in search of a second chance of life, this book provides all the necessary information, even through the words of its protagonists.

Mario Gerosa , Journalist, editor of the magazine "AD Architectural Digest Italy," he also virtual. State dell'Omnsh (Observatoire des mondes en sciences humaines Numériques), launched the project to conserve the heritage of digital architecture. He recently published Virtual Worlds (2006).

The Sims 3 The Relic Of Eternity

Presentation of the book Aesthetics of New Media Antonio Tursi

Presentation of the book Aesthetics of New Media Antonio Tursi

Tuesday, March 27 at 18 at NABA - Nuova Accademia di Belle Arts Milan Area Chamber will host the presentation light book Antonio Tursi Aesthetics of New Media. Forms of expression and network society (Costa & Nolan).

book. What about the forms of expression within the company computer networks? He still makes sense to talk about art and beauty in the presence of pervasive information flows carried by the new communication technologies? These are due to an abstraction of our experiences and allow a more dense emotional involvement on the basis of which form new social bonds? How has our sense of space and time in step from an industrial society to an informational society? These are some of the questions the author poses, unraveling through a comparison with some of the leading theorists of communication (including Marshall McLuhan, Hans Georg Gadamer, Walter Benjamin) and investigation of certain areas of expression peculiar to our time: the net art, the performance of bodies, new forms of storytelling, architecture revolutionized by digital technology.

The presentation will be inserted and then expanded by a debate on the subject of comparison-media aesthetics at universities, high artistic and musical training or ability of the media design, media arts and new technology art. A discussion and debate on ideas and theories included in the concept of 'aesthetics of media' such as 'teaching tool' level art and music.

The book will be presented by the author together with Franco Berardi Bifo and Amos Bianchi and take part in the debate Antonio Caronia and Francesco Monico.

Antonio Tursi is a doctor Research in Information and Communication Theory and senior fellow of the McLuhan Program in Culture and Technology. On these topics he published Internet and the Baroque. The work of art in the age of digitization (2004) and After democracy Mediations. Space, language and subjectivity networks (2005). To Costa & Nolan oversaw Mediations. Space, language and subjectivity networks (2005).

March 27, 2007 - 18:00

NABA - Nuova Accademia di Belle Arti Milano

Via Darwin 20, Milan

Pokemon Yellow Save Game

Method and Media Design by Antonio Caronia

This first decade of the twenty-first century (and, I fear even more the next) is crucial for the development of culture and knowledge. We are one of those moments where the most profound changes in the economic and social structure have already been produced (and this has happened in the eighties and nineties of the last century), but, for the natural process of reflection and bedding, only now felt more layers of society are beginning to realize the paradigm shifts that characterize the formation of a new society.
In such a situation the role of training and equipment for transmission of knowledge is especially important and poses difficult problems. The more this happens in a fund such as the level art, because the fields of expression (visual arts, writing, media) are among those where the earthquake of late modernity has acted in the most brutal and shocking.
In a nutshell: having relatively sheltered from the economic processes of formation of value in the period structure of classical capitalism (the nineteenth century - first half of the twentieth century), in the last twenty to thirty years the field of art has now entered fully into the economy, which implies an expansion much never seen before expressive and communicative activities (as evidenced for example by the use and misuse of the term "creativity"), as a disruption of the parameters on which these activities were more or less adjustment in the course of modernity. It is true that the upheaval had already been anticipated in the first half of the twentieth century, the work of the various historical ideas but then many of the intentions of these groups and these artists had remained a dead letter, had not really translated into expressive experiences radicals. Today (in this as in many other fields) to capacity digital technologies expand the range of possibilities and literally allow to realize even the most daring dreams.
In such a situation, educational institutions (schools in particular) tend to react in two opposite ways, but both symmetrical and also, tragically wrong. They can fade away in the first defense of knowledge, the paradigms of the past: in front of the obsolescence of traditional paradigms, the frantic forms of recombination, speeches, storytelling, made possible by digital technology, the only way may seem to resist, to reaffirm the fees, cosmetics, established theories, but the practice still widely outperforming larger expressiveness without difficulty. Or they can surrender to the flow of experiences, promote the richness of "creating" digital recombinant enhance the power of computer software and mental state (or practice) the death of the theory (or its supposed rebirth of a simple multiplication of the experience , which is the same thing). It seems to me that in both cases the school does not face that seduced by its undeniable crisis, and put the noose around his neck alone. In particular, an institute of higher learning that did a of these two choices will be reduced to the marginalization and rapid obsolescence. Because, contrary to what one might think, students who enroll at a school like the obvious question to be helped to orient in the forest of the overabundance of information and offers experiential and "training" that the company proposes .

I therefore believe that the axes of an academy of fine arts that will adequately address the challenge of modernity and cultural training should be two, both related to a reassessment of the role of theory (which does not mean giving formulette of rigid outdated and that every student quickly learns the futility):

1. the strong impression of the teaching methodology;

2. the identification of one or more fields "strategic" to understanding of the present and the development of expressive activities.

1) As regards the method, not so much to offer easy formulette "universal" best to interpret any phenomenon, but to address the complexity of the phenomena of expression of any kind (visual, auditory , written, multimedia) discussing and comparing "criteria" encoding and decoding of communication, training and receipt of expressiveness, training is not to give ready-made formulas, but in providing tools for the understanding they will still allow you to order, classify, select (even temporarily) the flow of communication and expression.

2) With regard to the centrality of the research field, it is clear that every training activity in the field of communication and expression can not flatten out in a generic and inclusive concept of "communication", but must consist of the forms that have historically embodied this function, namely the concept of "medium" or "medium". There is a general activity of "communication design" and "community projects". Just as it "paints the art" but they paint pictures, is not designed as "interactive art", but are designed and built the facilities, so they are used, are designed and built instruments for communication, ie media. The tradition (some recent, still being consolidated, but already recognizable) to refer to is therefore that of the "media design, which has so far proven more flexible in taking into account both the expressive richness of the experience because of the complexity of design communication and e reading of the phenomena of contemporary communication.

Antonio Caronia

Where To Put A Cute Dermal Piercing

For a recovery of a discourse on the method of Luca Galli

said ...

time ago, during a conversation, we wondered how anyone could imagine a course of the project methodology. The students of media courses and have already had many opportunities for training on the specific methods and practices of the disciplines that make up this universe, from animation director, the sound design and graphics.
When you submit, however, an opportunity to reflect on what is the method or the project in general?

The question may seem pointless, like many others who find themselves in the tradition of philosophy. Yet it is questions such as these that the community has returned to the same design in studies that go under the title of "design research", or more specifically those in epistemology or theory of the project. This discussion has crossed or overlapped with those born from the context of interaction design, industrial design, architecture, design systems, but also the science of organizations and management.
Some of these areas may seem distant from those of the media, or perhaps by others that are typical of a school of design and visual arts. However, if one assumes the perspective of the creative industries as a whole, and this environment as one in which professionals move in training today, things look differently.
"Think of the project," or in more prosaic terms, discuss and reflect on the nature and form of the method and the project then becomes important. On the one hand it is to understand the method and the design process in order to seize more power of the individual methods and practical contexts in which they apply. In this sense it is looking for a greater capacity to act. On the other hand it is to stimulate awareness of their role and their own professional identity (or social) in the box or in the clash with others - customers, employees, leaders, critics and the public.

From this point of view we believe it is useful to look at the history of the project as a practice and discipline, with a look as broad as possible, radical and open.
I are certainly many ways to do it. What we have experienced, and we continue to develop, is largely indebted to the work of John Chris Jones. His "Design Methods" (released in the first edition in 1970 and then reprinted and translated - but never in Italian - in various editions over the next twenty years) combines a review of methods with a seminal reading of the evolution of the project from the world of objects in the system, sketching the lines of what scholars have more recently recognized as a true "design philosophy" (to quote the title of a Another paper, in this case of Vilém Flusser, available in Italian).
Moreover, the questions about the nature of design that is so typical of Jones, even in the original forms of dialogue and representation, has given us the right questions as we travel those same footsteps, sometimes very remote parts of philosophy. Re-reading Descartes and his "Discourse on Method" becomes an almost essential premise - if only to capture in a different light twentieth-century criticism on scientific methods and perhaps the idea that design can proceed through razioanali or scientific methods (or is it exclusively).
The same could be said for other areas such as the complexity (where the Triennale di Milano has recently dedicated a workshop).

Ultimately, it is to discuss and implement some basic ideas on the project as an organized form of creative work, particularly in relation to production-oriented environments and contexts.
These ideas or elements to include the collaborative nature of the project, the systemic character of its objects (belonging to diverse but interrelated dimensions: physical, symbolic, social, etc.), the importance and the nature of approaches and methodologies that give structure to the activity, but also the most problematic and open as those concerning the scope of ethical and aesthetic values.

The results that we have collected encourage to move forward. Certainly for teaching, but partly also for cultural reasons: a course on how to "think the project ends up living under one discussion and the outcome is not discounted.

Luca Galli, prof. Project philosophy of the School of Media Design NABA

How Much For A Concrete Basketball Court

E 'Legitimate Iconocentrica a teaching? Amos Bianchi

E 'a legitimate educational iconocentrica? No, because the image leaves open to misuse of tradition, an area of \u200b\u200bconnotation uncertain and confused. In this sense the image, which can not be founded by a logos beyond any attempt to create an ad hoc generates, with a medial deviation is not well founded, a speech that he founded. But in the contemporary context, which tends to remove the time factor as dell'intersoggetività construction, this practice has degenerated, as self-legitimizing discourse on the image itself, which needs no mediation.
then, the phenomenology is proposed as a method of thinking to counter the self-legitimization of the discourse on the image.
Why phenomenology? Why is the question fundamental intersubjectivity of sense, because it rejects methodological solipsism and psychological, because it describes and does not interpret, because it has the deep breath of time and history.

Amos Bianchi

Good About Me Ideas For Profile

Grammar, Dialectic and Rhetoric of Media

grammar, rhetoric and dialectic MEDIA

This material was produced at the seminar held at the Graduate School IMT - Lucca Institute for Advanced Studies , 28/10/2005 entitled Grammar, Rhetoric and Dialectic Media by Francesco Monico;

Abstract:

The Media Medium

It 's a relationship model of our sensory and active metaphor for power to translate;
is what is in the middle, but things are not the media functions;
is the configuration of the background effects;
affects the body / mind to the specific attitudes.

What then is a medium / media?

Physically is a artifact or a technological device and an object of design;
etymologically a technology for transmitting information;
editorially a mode of organization, distribution and variation of communication.
In this sense any medium / media is one and three.

Size:

1 - Editorial;

2 - technology;

3 - object.

THE GRAMMAR OF MEDIA ****************************** *******

Grammar ^{[sf 'study of the constituent elements of a language' (av. Giamboni 1292) is derived from Lat. rammătica g (m) and grammăticu (m) , transcription of the greek Grammatiko or techne, '(art) script (program)', and Grammatikos , adj. (Who knows the letters)] 1} has as its object the knowledge of the rules that serve to operate in a language and manner broader language.

There are various models of grammar in linguistics: descriptive grammar that describes precisely the state of the language at a given time (the grammar of English by Scott, the grammar of the Florentine of the fourteenth century, the grammar of the Venetian dialect) and therefore does not give value judgments because it relates only to the description of linguistic facts, the historical grammar that studies the origin and history of a language, comparative grammar - or comparative linguistics-branch of linguistics that specifies what are the correspondences between multiple languages, thus creating the genealogical relationships, such as comparative grammar of Indo-European languages. General grammar, which tries to determine which laws are common to all languages. ²

All these applications are part of the broader category of so-called " traditional grammar .

Grammar, depending on the objectives for which it assumes, can follow different routes, the traditional one is understood as the sum of all the rules that govern the use of a language peculiar to a expression technology and / or half and its aim is to provide lists of forms, rules dictate and correct errors. In the popular sense then the grammar is 'the art of organizing the content within the language of a half'.

grammar to which we refer to as the object language has its own electric and electronic media such as audiovisual linear syntagmatic, TV and radio and television programs, documentaries and non-linear audiovisual ipermultimediale, such as Internet domain, Audiovisual and multimedia hypertext.

This is the so-called 'normative grammar of the media' which is a grammar that outlines the shapes you based on the model of audiovisual language that is proposed by the specialists of the sector and educational institutions and specialized research.

Grammar Statement of Media is a new discipline and experimental and at the Nuova Accademia di Belle Arti di Milano, Department of Media Design is developing a research and coding of this discipline.

studies on grammar media are in their infancy, the academic institutionalization is still young, and empirical research has not yet found an appropriate methodological framework and therefore are not automatically combined contributions from across disciplines.

This assumes that there is a grammar of the media that determines with consistency of assumptions and linearity of method, its foundations.

would be desirable to have a general idea of \u200b\u200bgrammar media that put order into a wide range of models available today, but in this history, no such circumstances is available.

is then circumvented the first duty of every discipline: the definition of its object of study. It follows that you can not specifically point out the concept of Grammar Media but we have a number of definitions that provides the ability to connote the phenomenon of audiovisual communication and thus to produce a sufficient amount of concepts to discuss them.

The grammar of electronic media is based on the rules of these same media, there are categories:

- Audiovisual Grammar and Linear : that on all the audiovisual media using a linear process and syntagmatic order to convey information in the statement. →

What do you mean by term?

Each linguistic expression (audiovisual) which can be given a structure, or which can be divided into constituent parts, in accordance with the rules of grammar.

The phrases are what the constituents of complex grammar identifies as a 'sentence' video. The first floor is not a phrase, a first floor with a gallery is to approach a phrase ^{[From Greek Syntagma 'meeting ordered composition' by sýntássein 'compose, composed of syn-' sin 'and tássein' order '(d' orig. Unknown)]}

Television is a medium that uses the matrix of time to organize their content and, therefore, the meanings are transmitted and modulated by the sequence and flow.

The sequence is defined as a succession of televised visual figures, such as first floor, especially, the middle field along the overview, the overview narrative that expresses a core unit.

The flow is defined as one that alternates in the sequence.

sequences and the flow encountered in the schedule which, in turn, is defined as "the sequence of messages offered by the issuer to all holders of the unit tuned to a given frequency" ³ .

The fact that television organize content in a flow of time scheduled to be considered a basic element of broadcasting, the distinguishing feature, the basic model of organization of the meanings of broadcast companies.

It introduces the use of events in the same unit space in front of the monitor and through the flow is through a set of sequences of all events usable in the same unit of time. This unit of time flow is the matrix through which the contemporary broadcast organizes information by retrieving the ancient oral forms' epoxy or the sequence syntagmatic that transforms a series of random events, even unrelated, in a real narrative and which aims to achieve through the forms of rhythm and emotion, of pathos, a final meaning.

Unlike the cinema whose work, the films are characterized by clearly defined boundaries of space and time, television is a medium flow: its product is a post- continuum, a stream. This flow is the term television. ⁴

- Grammar Audiovisual Ipermultimediale: that is relevant to all those means of audiovisual communication using different media and a non-linear process to convey information in the statement, which can jump from one content -contribution to another in a pattern of ' memex-As-You May Think ' ⁵ . →

These media, breaking the phrase up and implement a recovery of the 'mosaic' of the printed page of the newspapers, or the function of 'browsing' of the user becomes an active part in the recovery and sequencing of the content.

• The user has an active role: it must have the tools to enable the heuristics in the grammar ipermultimediale;

• The load is segmented by means which offers several content;

• The user regains half;

• The user should be able to know when the necessary information to form an opinion.

Brief Example of Audio-Visual Lexicon Grammar

The Shopping Cart: is a movement made by a "camera" or in short "camera", or a camera, usually with the aid of a cart. In making the trucks, the operator physically moves the cart on which are placed the camera, following a predetermined path.

The 'Campocontrocampo': assembly technique is usually used in scenes of dialogue between two actors facing each other. You get alternating shots of the two subjects, adopting the point of view of one first then the other.

The Easter egg ⁶ : is content, usually humorous or bizarre nature, and certainly harmless , the designers or developers of a product, especially software, hide in the product (like an easter egg hidden in the garden, according to the Anglo-Saxon tradition). This content is classified as an easter egg if it is something completely alien to the normal functions of the software in question, and yet does not cause any particular damage. A famous example are the fragments of video games can be activated with certain key presses in many programs. In the world of cinema's easter eggs are included in the DVD and may include curiosity about the film, brief scenes footage shot behind the scenes, a short interview, a video clip, etc..

The Full Length (FI): the person has been covered from head to foot, and is exactly in the frame.

The shot: a TRATEGIC focal, camera movement, the frame is the portion of physical space (environment, landscape, etc.). framed lens of the camera or camera. The act of framing outside the field to establish the precise space that will be taken at the same time to exclude everything else.

The "American night" is to shoot in broad daylight scenes that the viewer will look in turn at night. It is obtained by placing filters on the lens and dodging. Saves the actors and crew fatigue to shoot at night, and you can use the same film normally used (for films to be used at night would have a grain more obvious, being more sensitive).

The overview: a recovery is made by twisting (or tilting) a camera on its axis, can of course be combined with any other camera movements (eg the roundup), the realization practice often follows the basic rules: a shot of departure and the arrival of are still images, and pan must be made with precision, without oscillations, increasing the speed in the middle and then slow down on arrival. In fact, it is not a natural movement for the human eye (which tends to explore a landscape moving shooting from an interesting point to another), and this is used sparingly and with slow movements, sometimes subtle. According to the scene and followed the movement, we can distinguish panoramic "widening", "to shake", "to follow" (chasing a subject), or "slap" it is a very quick overview, known as "swish pan ", often used in dramatic scenes to make the idea of \u200b\u200bthe speed of thrown objects, such as a knife or a bullet. The panoramic "descriptive" can be used effectively to present a character (eg starting with the bottom and then climb slowly to reveal the face), or an environment (an overview of a room gives us an idea even those who live there).

The plan: when the frame includes, at most, a human figure in its entirety. If the frame were longer, they talk of the camp. A second portion of the human figure framed, the plan assumes the technical jargon in terms of "Full" Shot, "" middle ground "," Close "and" foreground. "Narrowing the frame on a single particular we get the "detail".

Shot (PA) 's shot from the middle part of the thigh (historically, as it may making people smile, this plan was established in Western movies, where there was a need to show the characters armed with holster hanging from the belt). Often used to frame two or more people (with a cut at the knees), this type of shot serves to give the actor more freedom of expression and action.

Plan medium (PM) or half-figures (MF): the nquadratura taking over the figure (or figures) from the waist up. Commonly known as half-body (MB), this type of shot is not used much in the cinema, and is more common in television (and television news in particular).

Highlights (PP): the nquadratura of a face to the shoulder. The subject is isolated from the context, and its expression is the center of attention. In photography is also known as "passport".

close-up (PPP): the subject's face fills the frame, and is generally cut on the hairline and in the middle of the neck (sometimes the cut is made from the chin). The shot is very close and very film, allowing you to capture the soul of the subject.

Detail (detail) or Detail (Dett.): is part of the face or body recovery very closely. It can also cover a very small object, or moving parts (eg the detail of the feet in the race).

The sequence: ra cchiude a scene or series of related scenes that have space-time continuum, has a beginning, a middle and a conclusion that ends with a strong or weak or a time of low intensity.

THE RHETORIC OF MEDIA ************************

The rhetoric and rhetoric ^{[Vc learned lat . rhetor (m) , which, with the adj. Der. rethŏricu (m) - which then ( art (m)) rethŏrica (m ) - depends on the GR model. rhetor , rhētorikós , Rhetorik (techno), der. Of v. of orig. Indeur and extension. éirein 'say, declare' , or art of making common share, communicate]} , is the art of intentionally structuring a series of arguments (or a phrase or a memex) in a particular form of dialectical reasoning.

Rhetoric is thus a form of exchange of information shared through conventions, content to be transmitted is typically done in the form stylistically more 'beautiful' or so that it can be useful (convincing - emotionally satisfying).

The Rhetoric to which we refer to as the object language has its own electric and electronic media such as audiovisual linear syntagmatic, TV and radio and television programs, documentaries and non-linear audiovisual ipermultimediale, such as Internet domain, Audiovisual and multimedia hypertext.

This is called the 'rhetoric of the media' which is a rhetorical structure that forms that are based on the model of audiovisual language that is proposed by the specialists of the sector and educational institutions and specialized research.

Rhetoric Media requires excellent knowledge of language conventions and familiar with the precise meanings of the totality of all the elements of a term audiovisual and / or a memex ipermultimediale in a given 'time frame'.

The concept of 'space-time' is very important in the audiovisual space is linear and sequential, the memex space is homogeneous and isotropic that a point in space is another for the verification of semantic connections there is no privileged position. It speaks, in this case, symmetry of translation and spherical symmetry. This spa uncle may be called hypertext structure as defined by a set of "semantic relations" between the content, in a variety of defined semantic content which can generally be identified.

Space is not absolute but becomes purely relational.

The 'Rhetoric Media' is being studied by various disciplines, including the 'Mass'mediologia (for historical reasons the development of the human sciences) has certainly garnered the most profound experience.

In the letters rhetoric (as it was until the twentieth century) is understood as the art of communication functionalized, the one that is instrumental to obtaining a particular benefit.

The Rhetoric Media is free from this controversy, and rejects the accusation to the historical rhetoricians, in the extension of its meanings, is also - and perhaps more noble - the art of sharing, a discipline that is closer aesthetics, understood as what impresses the senses ⁷ , not utilitarianism, although in certain views (including those for which the "beautiful" is a goal to be sought) can never miss the look of vantaggiosità pursued, since communication wants to be ontologically finalized (or not communication, but other type of issue).

Roland Barthes argues that the rhetoric is born from the processes of property, usually goes back to the birth of classical rhetoric from the fifth century BC, in Syracuse to the work of Corax and his pupil Tisia. The first 460 BC to write a manual entitled Techne Rhetorik, a first technique of communication. What's important is that there is in this text we find the correct presnetazione outline of the arguments of a 'speech': the onset, the "fight", the epilogue and the use of likelihood (the eikos) . And 'the concept of linking likely heavily ipermultimediali and broadcast media, technology likely to excellence.

The rhetoric began as a judicial technique and serves to convince the truth, or to make it appear plausible and realistic narrative of reality.

Born in strictly legal purposes, their precepts based on the principle that the look good is more important than ' be true. At the same time, and always in Sicily, was born and prospered another kind of rhetoric that psychagogical. It aimed to convince not proving so unexceptionable that a given argument was plausible, but attraction using cleverly manipulated the word could have on listeners, has advanced in this respect a comparison with today's advertising, which tends not so much to show that a product is better than another on the basis of technical elements, but more often to attract the consumer to induce the purchase, involving them in terms of passion and feeling, on emotion, conveyed most of the time, and its most convincing and just the linear audiovisual hypermedia.

From Sicily rhetoric goes to Athens, the mid-fifth century BC, through the masters of sophistry, rhetoric, the doctrine was developed and was enriched by new contributions. Among the most important figures should be noted Protagoras, who developed the doctrine of the antithesis as idea-force of an argument, showing how the same argument could be treated from different points of view. The most innovative contribution was the technique of contradict: the antilog.

The foundation Gorgiana

The rhetoric seems inextricably fused with the first author of the poetry which we have a discussion of rhetorical themes: Gorgias of Lentini, a great philosopher who emigrated from his native Sicily to Athens in 427 BC In one of his extant works, is exalted the power of psychagogical persuasion, which acts through the illusion ( apathy) that the speech (logos ) can cause. Gorgias, for one, a distinguished first detection of figures.

The Turn Platonic

Plato spoke a very severe condemnation of sophistic rhetoric ⁸ , judging it a fake and saying that was intended to distract seducing the crowd with elegance enchantresses and empty sound.

same time realized the philosophical statement of its counterpart, the dialectic, as the art of debate modeled on its specific content and aimed at analyzing the topics of discourse in composing the first elements to bring them to a few main categories.

The certainty of description prevails on changeability of meaning by reversing the position of the sophists. ⁹

Aristotle carried out a systematic review of the guidelines, he is the coder and the person who developed the rhetoric which is directly inspired by the rhetoric or the Media 'art of storytelling, presenting, and sharing information in linear audiovisual media and the media ipemediali.

So in the Media Rhetoric a widely used procedure is the induction, "the process that leads from the particular to the universal" ( Top ., I, 12, 105 to 11), while in the Rhetoric 'alphabetical' the ragionamneto Prince is an example deductive (starting from the many similar cases show that something is in a certain way);

The concept of induction literally means "to bring in," but also "summoned", "take him ". In practice, the human being comes to beliefs in two ways: it has an elementary knowledge of the particular and the universal comes from this (via induction, in fact), or from the universal part to go to the particular deduction. The main difference between induction and syllogism, deductive reasoning, it would be implicit, provided for Aristotle, in the middle term of the argument itself. In fact, that in the first case (induction) is a simple fact, while in the case of the deduction serves as a substantial because ( An. pr., II, 23, 68 b 15).

So we have two examples - deductive syllogism: all men are animals, all animals are mortal, therefore all men are mortal.

The middle term here is "animal" and is in fact the necessary link between the two extremes. The average delay in this case is that which only makes it possible to claim that all men are mortal. It is the conditio sine qua non . It explains and demonstrates, there is always to reach a valid conclusion, then is what tells us that men will all die sooner or later, because they are essentially animals.

Inductive reasoning: man, horse and mule are long-lived, man, horse and donkey are animals without bile, then the animals without bile are long-lived.

The middle term here is "to be without gall," and appear only in conclusion, this means that it does not connect to anything, but simply a fact and this is a 'visual image'. The induction, ultimately, does not prove anything, and only applies in all cases where there is the actual validity and may be an image and sound, which is a simple example.

Modern

nineteenth century it came to the suppression of the official rhetoric, this does not decreed its disappearance from the literary manuals, where it survived as a catalog of shapes and styles. This decline of the ancient art of speaking was due to the prominence given all'elocutio (dell'ornatus and theory).

But in the twentieth century there was a return to the conception of rhetoric as a theory of discourse, which has its hub in the argument and its raison d'etre, to determine the great renaissance of the discipline in the middle of the twentieth century.

Traité de l'argumentation Perelman

This recovery "positive" rhetoric of art is largely due to studies and work of Perelman and Olbrechts -Tyteca. They operate a modern return to the Aristotelian, to construct a theory of non-demonstrative speech . From them comes the rhetoric fondamneto media. ¹⁰

Rhetoric Media

As in Aristotle's rhetoric, the focus is the public, knowledge of which (the most realistic and accurate as possible, on the basis, above all, concepts of social psychology) is a prerequisite for the success of the argument.

This is also a feature of advertising which is based on market research to know the target to turn to in order to establish an effective communication process, as specific and direct the kind of public / audience.

The problem of public-linear media and hypermedia is linked to that of conditioning is that 's adaptation of the speech and the views of listeners to their degree of culture.

Secondariamnete is important in the Rhetoric Media the basis of the argument, and shall include the Agreement with the public, the choice of data and their presentation, ie the shape of the speech according to their tendencies of the medium. objects agreement are: the facts and truths, presumptions, values, hierarchies and places, and organizations of the space-time medium or all of the media.

Rhetoric Media is also divided into five phases.

The invention: the art of find messages acts audiovisual and / or ipermultimedialmente to better represent the arguments that you want to support. Eg. 'Bird flu, a chicken better nostrano alive or dead?, Chicken or duck?, Sick or healthy?.

In this case it is valid Aristotelian intuition that if we want the term / audio-visual message and / or memex / ipermultimediale message must be compelling from the same images that the public knows, imagine and expect.

The first practical method of Rhetoric Media is the listing and definition the 'commonplace', the visual images universally shared. And 'This is an approach widely used in advertising and marketing undertaken by the agencies, which investigated through surveys and interviews on social stereotypes, models and flavors predominate, so as to calibrate the message.

Not to be tedious and attract the attention of the public and users the message must be information, or have some new elements to do this using the Media Rhetoric:

its Form (the middle): is the ability to structure the organization (syntagmatic sequence and / or memex ipetestuale) the message in a form appropriate to the means of its trends (the radio trends, while television trends, the Internet has a domain of the trends, the trend has IP television, an interactive DVD has some tendencies → (Read media) . Trends are stranded with four questions. What do you extend? What recovery? What changes if carried to its logical extreme? What makes obsolete?

The style of content: or style appropriate to the subject, the public and the protagonist and / or players. determines the composition of texts in terms of formal construction of the text that make it informative and appropriate to context that can be inferred from the subject, the public or by the players.

The actio: is the art of spoken, saying the message with the most effective techniques Minutes (diction) and mimicry (acting). E 'center in the audiovisual media.

The memotecniche: persistence in memory, or syntagmatic flow ipemediale is emphasized by the emotional shock of the beautiful and disgusting, the comedian and dall'osceno. The rule is clearly important that the author / authors create custom shapes, related to their own imagination, developing a personal inventiveness. The Art of Memory by classical rhetoric moves from rhetoric to the middle.

Figures of speech

Within the modern information theory "as a message violates the rules of communication acquired (while remaining understandable), the more attracted the attention of the viewer, and its system expected to be somewhat upset by the fact that information is fully izing. "

The need to impress in various forms and ways the public is the fundamental problem of any rhetorical practice. In the past this rule has led to the baroque, bombastic and pompous, but the same need is the basis for handling 'special effects' in the contemporary communication of advertising, television, film, media and hypertext ipemediali submit messages.

Figure Prince rhetoric in the media is the metaphor, the 'analogy abbreviated' which is obtained by replacing a signifier for another, or one word with another, an image with another, a phrase with a ' another, a memex with another, thus suggesting a relationship of similarity between the two.

As in the syllogism living metaphor of the 'middle term', which while not appearing in the formulation of the sentence, is crucial to the understanding of the meaning of the communication process. ¹¹ In the metaphor 'Hercules is a lion' unspoken is the middle term 'strong', 'reckless,' intrepid 'and so on. ¹² The metaphorical language always retains a high percentage of ambiguity and therefore, the ability to allude to a lowest common denominator between two different objects by making a condensation is More than just a figure of oratory. Aristotle said in the Rhetoric that 'we learn especially for metaphors, because they produce knowledge by gender, reveal what is similar between two words or things. In this sense, the metaphor is one of the fundamental processes of thought and is equipped with its own hermeneutic and cognitive value.

addition to metaphor and metonymy, in which the transfer of meaning between the two terms is made on the basis of their proximity to a logical, spatial, temporal or material. As everyone knows who you lavoarre is hard and you sweat, everybody understands the meaning of the phrase metonymic "conquer life by the sweat of the brow." The effect (sweat) is exchanged with the cause (the work).

the dialectic of MEDIA *****************

The dialectic in philosophy is a kind of method argument. The origin of this method in the discussion of philosophical argument can be traced in Plato's dialogues where Socrates tries to find the internal contradictions in the thesis of the interlocutor.

For example, Socrates nell'Eutifrone asks Euthyphro to give a definition of piety. Euthyphro says that what is pious is loved by the gods. Socrates, however, the accused that the gods are quarrelsome, and that their quarrels, like human ones, deal with objects of love and hate. Euthyphro admits that this is indeed the case. Therefore, Socrates continues, there must be at least one objective that is loved by some but hated by others. Euthyphro again absent. Socrates then concludes that if the definition of mercy given by Euthyphro is true, then there should be at least one object that is both pious and impious that (since he is loved by some but hated by others) - which, Euthyphro admits , is absurd.

This way of proceeding in the development of the message from a thesis, try to find the internal contradictions (paradox, antinomy, oxymoron, antithesis) inland, is typical of Socratic dialectic and is called Socratic.

Arthur Schopenhauer noted that the logic searches for the truth, but is only interested in the dialectic of discourse.

The only really important dialectic is thus the art of getting reason, the eristic dialectic. According to Schopenhauer is more important to win the verbal battle , especially in front of an audience, rather than prove they're right. This is because the audience may not be interested in the truth of the matter, but only minutes to the clash, and will not have the patience or the skills necessary to follow the demonstration. To get right, and win the battle, it is therefore permissible to use every argument: that purpose Schopenhauer lists 38 methods derived from the classics. His notes on the subject, were collected posthumously in the book The art of being right. Now this is the classic dialectic in the media but it still pertains to the field of rhetoric as part of the construction techniques of the message.

The dialectic is very different from traditional media, it is clear and addresses the ' reports and the activation of sense, changes in the semantic field produced by the interaction of different joint media, and is typical of those media companies offering different variations of the same argument the media that resonate with one another '.

The Dialectic is a term derived from the verb dialéghestai , which in greek means to discuss the reasoning set ^{[sf 'art talk' (av. 1292 Giamboni) Vc. learned, lat. dialěcticu (m) , dialectica (m) from grecco dialektikós 'on to discuss' (from dialektos : dialect), dialektikē ( téchne ).]} The Dialectic Media is that 'dialogue media media in a vociverare, loud of one on, one out of many, many to one. Deafening concert of different messages of radio, television, internet, and the sign of the command, text and hypertext, and the expression of the memex '

The Dialectic Media is a completely new discipline, at birth, which is trying to take its first steps in the encoding of some possible ground rules of media mediums, analyzes and designs the utility of using hermeneutic forms of communication media.

In Republic and Phaedrus Plato identifies with even the dialectical philosophy itself, resulting in two movements as defined by logical, mutually inverse: one of "unification - universalization" (sharing? Bring in a paradigm, the context , medium, medium, plain), "that by sensible things (particulars) is elevated to species (ideas) (trends of their own half) and, between them, gradually to the more general (generating a shared background of the effects of a set of media). The other "division" - (particularization - fragmentation), which reaches the particular following the "trends of their way" (the differences within the various genres). Neoplatonism in the rear, the dialectic will be seen as the derivation of the things from one and, respectively, the return to it.

will be closer to Hegel's dialectic in the Platonic thought and return it to identify with the philosophy. Hegel introduces a substantial difference in the claims that the dialectic requires the sacrifice of the classical principle of non-contradiction, so that these al'unità to think of opposites. For Hegel, contradiction (opposition) is no longer an occasional communication error, but it becomes an objective structure, before which the 'information-communication' must not escape. This not eligible for any means to make nonsense; ¹³ Hegel derives the use of the concept of contradiction, indicating tensions, conflicts, antagonisms (contra-tions) between the shapes organization and variation in information reported by the media diffrerenti (radio and television are similar, but electronic writing and hypertext are in contra-diction with them).

The media becomes a dialectic of anti-mechanical discipline, guided by the category of the totality of the message, the interplay of the various linear media, the interplay media involved in a process media.

The Dialectic Media takes care of 'harmonizing' the communication process (hermeneutic) of the process media. The entire process can be described as a multimedia dialectic circle, in which occurs the birth of a post-message (communication), an interaction dialectic of content and message, action determined by the encounter-clash between all forms proposed by any medium, content of each message, and then return to the original message-content, enriched by a new dimension. We can consider the flower as a seed made, or which led to the extreme of its potential in place, but it is plausible to think that there is no obligation on assuming the seed as the beginning of the process of flowering, the flower is the extreme consequence of the seed (a summary).

The principle of the Dialectic Media is that 'any technology, medium and message, realizes itself transformed into something else'.

Media The dialectic is based on a basic assumption of the 'media theory' or that every aspect of reality is never final and absolute (from Heraclitus, Gorgias, Antiphon, ... Hegel, Monod, Heisenberg, McLuhan. ..) The reality is a process of constant becoming: any communication-message-content can exist while remaining equal to itself. The seed becomes understandable as a flower after a process of transformation, as well as messages. But if the communication-message-content living in the finiteness of himself (an internet domain cosìcome a DVD), then each part or fraction thereof (the communication conveyed by each different medium that composes it), though seemingly insignificant, has a its deep motivation, value and dignity of the overall process of the medium hypermedia.

NOTES

1 The New Etymological DELI, M. Cortellazzo and P. Zolli, Second Edition, Zanichelli Bologna, 1999, P 684.

2 Ed., In recent decades, modern linguistics has founded new types of grammars, such as 'transformational grammar'.

3 Caprettini (ed.), The Talking Box, cit., P. 60

4 See, R. Williams, Television, technology and cultural form, (edited by Enrico Menduni), Editori Riuniti, Bologna 2000

5 Vannevar Bush in 1945 in the periodical publishes a montly Atlantic article titled "As We May Think" in which envisages a futuristic device with which a researcher can gather and organize the various texts that can be used for his study and called Memex, shortening memory expansion. This article predicts: then appear new types of encyclopedias packed with a network of associative trails that connect them, ready to be inserted into memex and there amplified.

6 Ed., In Italian, literally, Easter egg.

7 Esthetic Media is always talking about 'sensory Ratio' or balance of the senses, and the basic assumption that each medium provides a few ways to invest more and more unbalanced and less precisely the sensory balance, giving rise to a new worldview.

8 rhetorical position of Plato is manifested directly in the Gorgias, in which it is stated that as the sophistication of counterfeiting legislation, so the rhetoric is the art of counterfeiting justice. In his maturity, in the Phaedrus, returned to take care of the rhetoric, no longer condemned as a whole, but this time distinguishing between the real rhetoric ("... the art to direct the souls through the words ...") and false rhetoric (the one that boasts an appearance of truth).

9 The attack on the rhetoric has created the negative connotations of the term. These underlying prejudices that rhetoric is a set of devices, therefore the opposite of spontaneity and sincerity, or would that persuasion is manipulation of consensus that plays on illusions. But in today's world are developed communication studies, and as never before turning attention to those aspects on which the rhetoric is based, sometimes to the extreme Research functionalization of dialectics.

10 Today the rhetoric is, however, was rediscovered in all its parts which can be traced very well in any type of speech intended to persuade, convince or move.

11 Sv

12

13 The contradictions are only recognized by Hegel as strictly defined by the various pairs of opposites which he analyzes in their pure form in the science of logic and then find themselves in the world, nature and spirit.