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