The pervasiveness of social media networks combined with new health monitoring devices and an inc... more The pervasiveness of social media networks combined with new health monitoring devices and an increasing understanding of the importance of social influence on chronic disease has created a new situation where health can be integrated into and change our self-identity, our social relationships and our relationship with our communities both local and global, on-line and in-person to a much greater extent than in the recent past. This chapter examines some of these aspects and interactions between health technology and social media and imagines prospective scenarios for how this might impact our culture, society, politics and economics by considering both the potential benefits and the dangers inherent.
Filmmaking has traditionally been a very structured, expensive, and hierarchical process. Digital... more Filmmaking has traditionally been a very structured, expensive, and hierarchical process. Digital technologies open up new mechanisms and processes, which can offer alternatives to the stable systems of production, distribution, and exhibition. There has been a paradigm shift as digital and computer technologies are changing the parameters for how movies are made, distributed, and seen. Acting as a survey of the current landscape, this chapter examines the process of moviemaking and what methods, producers, cooperations, and communities are enabled by the influx of digital technologies. It explores how digital technologies are altering the nature of moviemaking, some of the affordances provided, and the ways in which they are already being exploited by creative and often amateur moviemakers.
In his 1969 essay, "For an Imperfect Cinema," Cuban filmmaker Julio Garcia Espinosa calls for an ... more In his 1969 essay, "For an Imperfect Cinema," Cuban filmmaker Julio Garcia Espinosa calls for an abolition of elites in the art of filmmaking. He anticipates a time when filmmaking will become a "popular art" rather than a "mass art," an art created by the masses not by the few for the masses. He says that scientists, sociologists, physicians and economists should make films, not elite filmmakers and he looks toward a future where the masses will take over what he calls "the most elite of contemporary arts." 1 He declares that Imperfect Cinema must "show the process which generates the problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the opposite of a self-sufficient and contemplative cinema . . .Imperfect cinema is no longer interested in quality or technique. It can be created equally well with a Mitchell or with an 8mm camera, in a studio or in a guerrilla camp in the middle of a jungle." 2 Filmmaking has been one of the most expensive art forms. Traditional barriers to entry and hierarchies are crumbling with falling costs and a growing literacy in rich media. Cinema has changed from an economy of scarcity to one of ubiquity. The ubiquity and accessibility has changed how people use moving images. From a form of ritual entertainment and art, moving images are increasing becoming a means for interactive communication and means of negotiating power. In this paper, I will present 1
The pervasiveness of social media networks combined with new health monitoring devices and an inc... more The pervasiveness of social media networks combined with new health monitoring devices and an increasing understanding of the importance of social influence on chronic disease has created a new situation where health can be integrated into and change our self-identity, our social relationships and our relationship with our communities both local and global, on-line and in-person to a much greater extent than in the recent past. This chapter examines some of these aspects and interactions between health technology and social media and imagines prospective scenarios for how this might impact our culture, society, politics and economics by considering both the potential benefits and the dangers inherent.
Filmmaking has traditionally been a very structured, expensive, and hierarchical process. Digital... more Filmmaking has traditionally been a very structured, expensive, and hierarchical process. Digital technologies open up new mechanisms and processes, which can offer alternatives to the stable systems of production, distribution, and exhibition. There has been a paradigm shift as digital and computer technologies are changing the parameters for how movies are made, distributed, and seen. Acting as a survey of the current landscape, this chapter examines the process of moviemaking and what methods, producers, cooperations, and communities are enabled by the influx of digital technologies. It explores how digital technologies are altering the nature of moviemaking, some of the affordances provided, and the ways in which they are already being exploited by creative and often amateur moviemakers.
In his 1969 essay, "For an Imperfect Cinema," Cuban filmmaker Julio Garcia Espinosa calls for an ... more In his 1969 essay, "For an Imperfect Cinema," Cuban filmmaker Julio Garcia Espinosa calls for an abolition of elites in the art of filmmaking. He anticipates a time when filmmaking will become a "popular art" rather than a "mass art," an art created by the masses not by the few for the masses. He says that scientists, sociologists, physicians and economists should make films, not elite filmmakers and he looks toward a future where the masses will take over what he calls "the most elite of contemporary arts." 1 He declares that Imperfect Cinema must "show the process which generates the problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the opposite of a self-sufficient and contemplative cinema . . .Imperfect cinema is no longer interested in quality or technique. It can be created equally well with a Mitchell or with an 8mm camera, in a studio or in a guerrilla camp in the middle of a jungle." 2 Filmmaking has been one of the most expensive art forms. Traditional barriers to entry and hierarchies are crumbling with falling costs and a growing literacy in rich media. Cinema has changed from an economy of scarcity to one of ubiquity. The ubiquity and accessibility has changed how people use moving images. From a form of ritual entertainment and art, moving images are increasing becoming a means for interactive communication and means of negotiating power. In this paper, I will present 1
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