Are we REALLY all photographers, publishers, visual storytellers?
Photography has never been a more dominant and embedded part of contemporary culture than it is now. The pervasive eye of the world has arisen and new practices of visibility have emerged confronting the power of the establishment. The net has amplified our ability to connect and build communities across the globe and digital technology and the social media sharing and communication of images has facilitated an exponential growth in picture capture and seamless digital distribution.
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK 1, Jonathan Shaw together with his colleagues Jonathan Worth and Matt Johnston seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary 2 by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
This presentation will reflect upon and explore the motivations, rational and strategies that led to the development and support of open, online courses specifically within context of photography education. The workshop will also showcase Newfotoscapes, a 'living' book about the new topography of visual storytelling through lens-based media by Jonathan Shaw.
Newfotoscapes seeks to navigate the evolving topography surrounding the image in the twenty-first century, offering a focused eye on the contemporary creative author-curator and image-maker and on the possibilities afforded by an increasingly complex professional landscape. Jonathan advocates a new way of thinking about photographic production and education in a post-digital era.
Newfotoscapes can perhaps best be understood as a series of curated texts arising from a series of in-depth conversations with 10 key stakeholders in, and influential commentators on, photography; including: Andy Adams, Charlotte Cotton, Dewi Lewis, Mishka Henner and Stephen Mayes. Perspectives and views cover a wide range of topics such as photo-books, archives, mobile, community, value, curation, appropriation, power, open education, connected/networked image, governance, licensing and the agency.
In the spirit of today's mobile and connected world Newfotoscapes will be simultaneously available on the web under a Creative Commons license and versioned in ePub and print formats.
4.16.24 21st Century Movements for Black Lives.pptx
21st Century Visual Storytelling and Visible Learning
1. #photomedia
JONATHAN
SHAW
Helsinki Photomedia 2014
26th - 28th March, 2014
Aalto University, School of Arts, Design and Architecture, Helsinki, Finland
21ST CENTURY VISUAL STORYTELLING:
OPENING THE DOORS TO VISIBLE
AND CONNECTED LEARNING
8. orytellers?" "Are we REALLY all photographer
blishers, visual storytellers?" "Are we REALLY
ographers, publishers, visual storytellers?" "A
REALLY all photographers, publishers, visual
orytellers?" "Are we REALLY all photographer
blishers, visual storytellers?" "Are we REALLY
ographers, publishers, visual storytellers?" "A
REALLY all photographers, publishers, visual
orytellers?" "Are we REALLY all photographer
blishers, visual storytellers?" "Are we REALLY
ographers, publishers, visual storytellers?" "A
REALLY all photographers, publishers, visual
orytellers?" "Are we REALLY all photographer
blishers, visual storytellers?" "Are we REALLY
ographers, publishers, visual storytellers?" "A
#photomedia
28. Going back to the drawing board
...and work out what you want to say! #photomedia
29. The ‘Reading List’ is now the most visited post in the class...(Friends of Phonar Book List)
Revisited
The traditional reading list... #photomedia
30. Here, what we think of as ‘publication’ --
whether it occurs in ‘real time’ or after a
long period of reflection and editorial
review, ‘all’ at once or in fits and starts, in
print-on-paper or electronic form -- is no
longer an end point. Publication is rather
just a stage in an ongoing process of
temporal unfolding.
“
Gary Hall
On the unbound book: academic publishing in the age of the infinite archive. (2013) #photomedia
32. #photomedia
Fundamentally aspires to be
understood as a node within
the network; fluid, dynamic and
responsive to its surroundings,
rather than a fixed, definitive
and bound container.
34. CATALYST
#photomedia
is the impetus for each
encounter. They are the
present questions that
occupy each contributor,
having guided their current
thinking, research and
practice.
ENCOUNTER
ANTENNAE
39. It’s not a question of the mass
audience versus the niche
audience. The niche audience
is something that is an
aggregation of people in the
mass audience
“
David Campbell
Newfotoscapes.org #photomedia
40. The artists who I think will
define this moment, who do
define this moment for other
artists are actually invisible to
most cultural institutions
“
Charlotte Cotton
Newfotoscapes.org #photomedia
41. The thirst for such acceptance
from younger artists has been
exacerbated by the
proliferation of art fairs
“
Donall Curtin & Nathaniel Pitt
Newfotoscapes.org #photomedia
42. My delight is that much more
responsibility now sticks with the
receiver of a photograph, to the
point where I am now beginning to
argue that the receivers (users,
consumers…) of photographs are
more important in doing things to
them than the photographer
“
Francis Hodgson
Newfotoscapes.org #photomedia
43. I think printed books will be
around for a long time. It’s not
that people will stop wanting
to buy them. The problems are
going to come because - will
there be enough commercial
printing out there?
“
Dewi Lewis
Newfotoscapes.org #photomedia
44. The skill then of the, if you like,
dedicated image maker
comes about then harnessing
those deeper levels of
metaphor and storytelling
“
Stephen Mayes
Newfotoscapes.org #photomedia
45. I use the image in a way in
which to open up questions of
provenance really, because
really once a photograph is on
a screen is it video, is it
animation?
“
Katrina Sluis
Newfotoscapes.org #photomedia