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NEW MINDSETS ON PHOTOGRAPHY#RedeyeNetwork
JONATHANSHAW
Redeye Network Event26th November, 2013Media City, Manchester, UK
21st century teacherwhat does this look like... #RedeyeNetwork
Being biased...For me digital media enabled this... #RedeyeNetwork
Being biased......to transform into this! #RedeyeNetwork
Being biased...For me digital media enabled this... #RedeyeNetwork
Being biased......to transform into this! #RedeyeNetwork
Being biased......and result in this! #RedeyeNetwork
1,000,000listens
Being biased......and this!
Photographic Mediations iTunesU Collection
#RedeyeNetwork
#TPGallery
The first tablet?...camera obscura as experience (via Wikipedia) #RedeyeNetwork
New?...the digital experience #RedeyeNetwork
#RedeyeNetwork
Thinking differently...What can happen when you consider your approach and invite people join you! #RedeyeNetwork
© Cheltenham Art Gallery & Museum
Provenance of arts education...as craft #RedeyeNetwork
Relevance......Google Search App interview #RedeyeNetwork
Shaking up photo-education
”“
#RedeyeNetwork
We should be openly engaged...politically, socially and culturally #RedeyeNetwork
Globally visible...phonar.org in 10 weeks had 15,000 people from 152 cities #RedeyeNetwork
What does it mean to be a 21st century photographer?
”
“Networked...Image: Jenny Swerdlow & Rachel Appleby #RedeyeNetwork
Open door...establishing new rules #RedeyeNetwork
#AdobeEdu12
Connected...conversational #RedeyeNetwork
Collaborative...internationally #RedeyeNetwork
Personal...meet the tutors Jonathan Worth and Matt Johnston #RedeyeNetwork
Open resources...freely available #RedeyeNetwork
#PEDARE2013
SharingLicensing #RedeyeNetwork
Conversations...before the doors of the classroom are open, dialogues have already been shared. #RedeyeNetwork
Integrated...featured in What’s Hot in Photography apps! #RedeyeNetwork
Open experiencesSharing resources
Conversations with communitiesCritically engaged
Principles...to think about #RedeyeNetwork
Open experiencesSharing resources
Conversations with communitiesCritically engaged
TrustedConnectedHub (rather than supplier)
Principles...to think about #RedeyeNetwork
In fact, the more engaging social media becomes, the less scale it delivers. Think about it. We all know that social media is
essentially conversational and personalised. But conversations only work with a small group of people: the more people you add to a conversation (the more scale you add to it), the less
effective it becomes.
”
“Richard Stacy...Why social media is a dangerous concept #RedeyeNetwork
Going back to the drawing board...and work out what you want to say! #RedeyeNetwork
The ‘Reading List’ is now the most visited post in the class...(Friends of Phonar Book List)
RevisitedThe traditional reading list... #DigHum13
New Partnerships!...a ‘living’ book-project #RedeyeNetwork
CHARLOTTECOTTON
Collaboratorsmore coming...
MISHKAHENNERSTEPHENMAYES
KATRINASLUIS
DAVIDCAMPBELL
ANDYADAMS COMMUNITY LEADER
ACADEMIC
WRITER
POST-PHOTOGRAPHER
AGENT
DIGITAL CURATOR
#RedeyeNetwork
Sneak preview...Openly licensed #RedeyeNetwork
#INTED2013
Presentation available at:http://slidesha.re/1gftIZ6
JONATHANSHAW
[email protected]@time_motion
www.jonathan-shaw.com www.newfotoscapes.org
#RedeyeNetwork
From the book...What do we think? #RedeyeNetwork
1. It’s like a brand new media object. It’s a media experience. 2. That’s a hot topic how people feel about the concept of being a curator. 3. I’m not even sure if we should be calling it photography anymore, since the great majority of it isn’t technically photography at all. They’re just
images.4. I always think about an audience engagement component. 5. So language is actually still a significant constraint. 6. One thing that has happened within the creative industries in the twenty-first century, has been an aging of creative industries and their workforces.7. I think the first stage of emancipation is to abandon hope that the situation is any less challenging or in need of radical change than it really is.
Across the world, creative people in the fields of photography, curation, activism, writing, filmmaking, know that the money is spent. 8. I have also been interested in creating structures for iterative processes, because we are at a time that is not definitive in a conventional sense - it is in flux. 9. I don’t think a photographer needs to be a curator at heart, but I think a photographer doesn’t need to understand the curatorial mode of their
practice for sure.10. The artists who I think will define this moment, who do define this moment for other artists are actually invisible to most cultural institutions. 11. Understand the digital not as a set of technological developments, but an entirely new conceptual landscape.12. I do think the production of photographic icons is something that is undertaken by the photographic community, rather than actually the wider public, or
even media community generally.13. The lament for a front page is something that always occurs within the context of an anxiety about abundance. I think this anxiety is way overstated. 14. So here the important thing is a distinction between potential and actuality.15. We moved to the idea of visual storytelling as kind of a rubric. Because we wanted to locate things into that much larger space and zone. 16. 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? 17. Photography is about a computational object. 18. I'm sure methods for us to disappear will become more prevalent and valued over time. But for an artist, visibility is significant.19. “Actually, your value is integrity. The point is that you’re credible and people believe you. That’s what people will pay for; not the images.” 20. What I love is the degree of visual literacy that we now live with.21. “What happens to all these pictures? How do we archive them?” My question was, “Why?” Why would you archive them? 22. I think we do live with this slightly specious belief that there is such a thing as an important image and such a thing as an unimportant image. 23. Video is now assuming the role of a factual vehicle. “This is what it looked like; this is what happened; this is who was there.” The picture, the
still photograph becomes very much more about the idea of.24. I think the limiting resource at this point is imagination.
