ambience, affect, and autodocumentary

ambience, affect, autodocumentary

Adrian Milesvogmae.net.au

the movement image

everything reacts upon everything else: perception notices only that and not all so is a subtraction (a reduction of all that is) — perception image (Vertov)

of that which is deliberately noticed some allows possible action, a doing — action image (Ford)

the interval between the two is the gap or distance between each, the more hesitant this interval is (the more it wonders about what to do), the more affective it is — the affect image (Dreyer)

an interface a user an action

perception affect action

an elegant interactivity

notice decide do

in my pocket

HD camera, GPS, accelerometer, micro computer, bluetooth, wifi, 4G

twitter instagram vine

minor chunks


indirect media trails


deliberate artefacts

moves

ambient media machines

momento

an automaticity of affect

A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Social reality is lived social relations, our most important political construction, a world-changing fiction. (p. 149)

By the late twentieth century, our time, a mythic time, we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs. Ths cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality, the two joined centres structuring any possibility of historical transformation. (p. 150)

Donna Haraway. A Cyborg Manifesto

”

”cyborg documentary

For Denzin, autoethnography entails the incorporation of elements of one’s own life experience when writing about others through biography or ethnography. Therefore, it differs from both straight ethnography and life history or autobiography. (pp. 6–7)

autoethnography is defined as a form of self–narrative that places the self within a social context. It is both a method and a text… (p. 9.)

Reed-Danahay, Deborah. Auto/ethnography: Rewriting the Self and

the Social. New York: Bloomsbury Academic, 1997.

”

”autodocumentary

are these a cyborg documentary?

is this auto documentary, in the model of autoethnography?

are they aggregators of affect and appear as a recent development that combines affective labour with cognitive capitalism toward an affective capitalism?

what mix of services and apps do I want to make affective, deliberated, emergent and generative nonfiction works? That enable me to consider and participate in a poetic knowing of the everyday?

ambience, affect, and autodocumentary

Education