媒介環境：從自然到虛擬
Media Environments: from Natural to Virtual
| 節 | 週五 |
|---|---|
5 13:20–14:10 | 媒介環境：從自然到虛擬 HC101 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
Course Description (For English version, please scroll down) 本課程從媒介研究的角度從新審視「環境」此一概念,並探問三個相互纏繞的問題:(1) 媒介如何再現自然/人造環境,形塑我們的理解與感知 (2) 作為技術系統或基礎設施的媒介如何成為人類環境的一部分。(3) 關於環境的思考如何開啟重思當代媒介理論的方法。 從礦物、大氣、海洋、動物、昆蟲、病毒,我們將閱讀並思考當代媒介思想家如何試圖超越人類中心的媒介論,將被隱蔽的自然環境與非人他者重新納入論述視野。另一方面,從高空攝影、網路監視、虛擬遊戲、平台經濟、都市基礎設施等具體案例,我們將思考人類如何透過媒介技術重新「創造世界」(world-making) 或形塑「第二自然」(second nature)。我們亦將進一步探問,在媒介/環境的雙重糾纏中,性別、階級、族裔等認同與地緣政治類別又如何被區分成「自然」或「異類」。本課程閱讀及討論語言以英文為主,中文為輔,並搭配電影、小說文本、攝影圖像等媒介類型分析。課堂討論外,兩週一次閱讀筆記、一份期末報告、學期中另有2場邀請演講需出席。 This course asks the following questions: (1) how is environment represented in multiple forms and genres of media? (2) how do media—as technical system and infrastructure—become part of our environment and second nature? (3) how does the notion of environment redefine media and media theory? These questions will guide us through the classical elements of water, air, fire, earth, as well as the species and strains of animals, insects, and viruses . Through fictions, films, photographs, video games, and digital platforms, we will explore the ways human beings imagine natural and artificial environments and inquire into a series of ideas about the environment conveyed through the imagined landscapes of oceans, rivers, mountains, farmlands, as well as the human-built infrastructure and architecture. The media/environment complex tells us more than about how we imagine nature and the environment. They articulate and naturalize ideas about race, gender, class, geopolitics, and the very boundary between the human and the non-human. They present certain kinds of identities as natural and normative and other kinds of identities as unnatural or out of place in nature. We will explore the ways that representations of environment can at times justify existing relationships of power and the ways in which such representations may also contest the status quo. As part of this class, you will be responsible for contributing examples of environmental media to class discussion through your response papers. One of the aims of the seminar is to help you critically engage with both the medium-specificity and site-specificity of environments.
| 週次 | 主題 |
|---|---|
| 第 1 週 | Class Cancelled! |
| 第 2 週 | Introduction: the Media/Environment Complex 課程介紹:媒介與環境的複合體 Reading: 楊子樵, 「關鍵詞:要素型媒介」攝影之聲 https://vopmagazine.com/kw7/ Viewing: Documentary: Before the Flood 洪水來臨前 (紀錄片) https://youtu.be/kSHId9hRtNQ 2018 Taipei Biennial, “Nonhuman Museum”台北雙年展「非人類博物館」 https://youtu.be/cXh943t98CE 2020 Taipei Biennial, “You and I Don’t Live on the Same Planet” 台北雙年展 「你我不住在同一星球上」 https://youtu.be/Ot8QHCikGXM PBS Interview 公共遞嬗藝術很有事 46集「台北雙年展對自然的回應」 https://youtu.be/NsRLZiEaJUY Bruno Latour’s Keynote Speech https://www.youtube.com/watch?v=f72IZVf0ETk @Museum Tour: Taipei Biennial 2024 台北雙年展「小世界」 |
| 第 3 週 | From Media Archeology to Media Ecology 從「媒介考古」到「媒介生態」 Watch: John D. Peters on Weather Media in the Public Sphere https://youtu.be/uKdxnuTF7lQ “Introduction,” Huhtamo, Erkki, and Jussi Parikka. Media Archaeology: Approaches, Applications, and Implications. Berkeley, Calif: University of California Press, 2011. (媒介考古學:方法、路徑和意涵/復旦大學出版社/中文版/ 導論) 張惠嵐「校準正典歷史:媒介考古學式的媒介研究」(傳播研究與實踐.第11 卷 第1 期.頁207-239.2021 年1 月) Notes toward an Intellectual History of Media Ecology” in Perspective on Culture, Technology, Communication: The Media Ecology Tradition (環境媒介學:思想沿革與多維視野(巨流)「側記媒介環境學的思想沿革」) John D. Peters, “Understanding Media” in The Marvelous Clouds, Yale UP, 2015 (奇雲:媒介即存有/ 復旦大學出版社) 蕭旭智 (書評)「博物異誌:水火風土人神的媒介論──《不可思議的雲:邁向元素的媒介哲學》」新聞學研究‧ 第一三二期 2017 年7 月, 頁193-201 |
| 第 4 週 | #Reading Note1 Due Earth Media: Geological Time and Vertical Space 地媒介:地質時間與垂直空間 Dipesh Chakrabarty, “The Climate of History: Four ThesesAuthor(s), Critical Inquiry , Vol. 35, No. 2 (Winter 2009), pp. 197-222 Stephen Graham, “Part II: Below” in Vertical: The City from Satellites to Bunkers (世界是垂直的/ 中文版/ 第二部分) Rosalind H. Williams, “The Underground as a Vision of the Technological Future in Notes on the Underground: An Essay on Technology, Society, and the Imagination. Cambridge, MA: MIT Press, 2008.” Jussi Parikka, A Geology of Media. University of Minnesota Press, 2016. *Douglas. Kahn, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. Berkeley, Ca: Univ. of California Press, 2013. ------------ *Jennifer Gabryseauthor. 2011. Digital Rubbish: A Natural History of Electronics. University of Michigan Press. |
| 第 5 週 | Air Media: Clouds, Ambience, Atmosphere 空媒介:大氣、氛圍、雲端 John D. Peters, “Sky Media I &II” in The Marvelous Clouds, Yale UP, 2015 Hu Tung-hui. A Prehistory of the Cloud. Cambridge, Massachusetts: The MIT Press, 2015. Stephen Graham, “Part I: Above” in Vertical: The City from Satellites to Bunkers (世界是垂直的/中文版/ 第一部分) * Lisa Parks, “Introduction”, Rethinking Media Coverage Vertical Mediation and the War on Terror *Paul Roquet. Ambient Media: Japanese Atmospheres of Self |
| 第 6 週 | #Reading Note2 Due Water Media: Ocean, Dam, Fiber-Optic 水媒介:海洋、大壩、光纖 John D. Peters, “Of Cetaceans and Ships” in The Marvelous Clouds, Yale UP, 2015 Melody Yue, Wild Blue Media: Thinking Through Seawater, Duke UP, 2020. Nicole.Starosielski, The Undersea Network, Duke Up , 2015. * Corey Byrnes, Fixing Landscape: A Techno-Poetic History of China's Three Gorges. , 2019. *Margaret Cohen; Denotation in Alien Environments: The Underwater Je Ne Sais Quoi. Representations 1 February 2014; 125 (1): 103–126. doi: https://doi.org/10.1525/rep.2014.125.1.103 |
| 第 7 週 | Spring Break |
| 第 8 週 | The Animal That Therefore I Am 「動」之為「物」 John Berger "Why Look at Animals?” 〈為何凝視動物〉 鄭麗榕《文明的野獸:從圓山動物園解讀近代臺灣動物文化史》(節選) 黃宗潔:《牠鄉何處?城市動物與文學》〈不得其所的動物〉 〈動物園中的凝視〉 Liu Kexiang 劉克襄, A Story of A Wind Bird 蜂鳥皮諾查 Li Yu-lin, “Becoming-Animal: Liu Kexiang’s Writing Apprenticeship on Birds” in Ecocriticism in Taiwan: Identity, Environment, and the Arts. ---------------------- Akira Lippit, Electric Animal: Toward a Rhetoric of Wildlife. Minneapolis: University of Minnesota Press, 2010. Parikka, Jussi. Insect Media: An Archaeology of Animals and Technology. Minneapolis: University of Minnesota Press, 2010. *Ursula Heise, Imagining Extinction: the Cultural Meanings of Endangered Species |
| 第 9 週 | Rescheduled (No Class this week) |
| 第 10 週 | #Reading Note3 Due Virus, Meme, and Parasites 病毒、迷因、寄生者 Ricahrd Dawkins, “Memes: The New Replicators” in the The Selfish Gene (自私的基因, 第十一章:自私的「瀰」) Susan Blackmore. Selected Chapters from The Meme Machine. Oxford: Oxford University Press, 2000. (迷因:基因和迷因共謀的人類心智和文化演化史) Tony D. Thompson, Virality: Contagion Theory in the Age of Networks, 2012. *Sulafa Zidani --"How to Conduct Internet Meme Research" https://cmsw.mit.edu/how-to-conduct-internet-meme-research/ --"Messy on the Inside: Internet memes as Mapping Tools of Everyday Life" |
| 第 11 週 | Logistical Planet (1): Platform and Algorithmic Violence 物流星球 I : 平台世界與演算暴力 Lev Manovich, “The Algorithms of Our Lives” https://www.chronicle.com/article/the-algorithms-of-our-lives/ Jonathan Roberge and Robert Seyfert “What are Algorithmic Cultures?” in Algorithmic Cultures Essays on Meaning, Performance and New Technologies Marc Steinberg, “Platform Worlds,” in The Platform Economy: How Japan Transformed the Consumer Internet. , 2019. Nick Srnicek, “Introduction” in Platform Capitalism. Cambridge: Polity, 2020. |
| 第 12 週 | #Reading Note4 Due Logistical Planet(2): Surveillance and Sensing 物流星球 II : 監控與感測 Jennifer Gabrys. 2016. Program Earth: Environmental Sensing Technology and the Making of a Computational Planet. University of Minnesota Press. The Global Eye: Satellite, GPS, and the “Geopolitical Aesthetic” in Catherine Zimmer, 2015. Surveillance cinema. New York: New York University Press. Allison Carruth, Robert P. Marzec; “Environmental Visualization in the Anthropocene: Technologies, Aesthetics”, Ethics. Public Culture 1 May 2014; 26 (2 (73)): 205–211. doi: https://doi.org/10.1215 Heather Houser; “The Aesthetics of Environmental Visualizations: More Than Information Ecstasy?”. Public Culture 1 May 2014; 26 (2 (73)): 319–337. doi: https://doi.org/10.1215/08992363-2392084 |
| 第 13 週 | Invited Speaker: 邀請演講 Speaker: TBA |
| 第 14 週 | #Reading Note 5 Due Gaming Landscapes 遊戲地景 Galloway, Alexander R. Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, 2010. Alenda Y. Chang, Playing Nature: Ecology in Video Games,Minnesota UP, 2019 |
| 第 15 週 | Immersive Environments 沈浸環境 Ryan Marie-Laure, Narrative As Virtual Reality 2 : Revisiting Immersion and Interactivity in Literature and Electronic Media. Baltimore: John Hopkins University, 2015. Oliver Grau. Virtual Art: from Illusion to Immersion. Cambridge, Mass: MIT Press, 2007. Eugénie Zvonkine, Per aspera ad astra, or Through Post-cinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU Francesco Casetti, “The Relocation of Cinema.” In The Lumière Galaxy. Seven Key Words for the Cinema to Come. New York: Columbia University Press, 2015. |
| 第 16 週 | Urban Infrastructure & Forensic Architecture 都市基盤 & 法醫建築 Brian Larkin, “The Politics and Poetics of Infrastructure” https://www.annualreviews.org/doi/full/10.1146/annurev-anthro-092412-155522 Shannon Mattern, “The Deep Time of Urban Mediation” in Deep Mapping the Media City (2015) and Ch.1-2, Code and Clay, Data and Dirt: Five Thousand Years of Urban Media (2017). Keller Easterling, “Introduction” in Extrastatecraft: The Power of Infrastructure Space. Verso, 2014. Eyal Weizman, “What is Forenic Architecture” in Forensic Architecture : Violence at the Treshold of Detectability. New York, NY: Zone books, 2017. “Allison Killing: The British Architect Who Won a Pulitzer” https://www.architectsjournal.co.uk/news/alison-killing-the-british-architect-who-won-a-pulitzer 劉依盈「當真相調查走入當代美術館,法醫建築重現正義還是娛樂化悲劇?」 (報導者) https://www.twreporter.org/a/opinion-forensic-architecture 閻望雲 「雲端與土地之間:法醫建築的政治藝術」 (攝影之聲) https://vopmagazine.com/fa/ |
- 地點
- Humanities Building3 (HC101) (人社三館HC101)
- 時間
- 2:00 - 5:00 PM, Friday
- 聯絡方式
- knulpyang@nycu.edu.tw