Week 5

1. After having read about the examples in "An Infinite Seance Part 2", what do you think it means for new media artworks to "satisfy that thirst for media-specific art and still fit perfectly into the current trends"?
In this reading, I found that there was a tendency for the artists to use older, out-dated technologies and use these to reflect upon the use of technology today. In a way they were hacking these older technologies creatively, in a way that they were not intended to be used, to create their art. These obsolete technologies were then repurposed to create art and comment on the newer technologies.

2. To what extent do you agree that the open source movement is reminiscent of a Marxist revolution, and why?
I found this article constructed a very convincing argument. My own view of the open source movement before reading the article was about not losing a freedom; we already have free access to so many things using the internet and we don't want that access to become restricted. There are still capitalist platforms that do encourage individual creators (Youtube, for example). Creativity does flourish without the need for incentive, but this does not mean incentive and earning a the means live destroy creativity. I think understanding that creators need to be financially protected (within reason) is still present, even with the open source movement.

3. What do you think is the particular role that 3D printing has in the critique and imagination of radical futures?
With the option of 3D printing, object can theoretically be made anywhere. This includes the objects of our imagination. However with this creativity, there is a disconnect from the medium which can contribute to the consumerist wastefulness. This creates the unintended effect of feeling less responsibility for the resulting creation and its effects. There is a critique on plastic and the other various materials used to print.

4. How do you think glitches can be useful in asking critical questions and generating creative solutions?
A glitch can be seen as a creative problem. They help to discover new ways to ask questions. For example, there is a standard of compression, but you can create your own compression scheme in order to better control what is cut away in your work.

Week 4

1. In your own words, how does the imagination of utopia serve a critical function, compared to rational critique of the Truth, in cultural politics?
The Truth in this technological age is constantly changing and dependent and varies depending on the source. When proposing change in the realm of the possible, the solution is usually something that is already established. On the other hand, the solutions are limitless in the realm of imagination. This type of thinking helps to move the focus from the problem to wonderful possibilities and solutions.

2. Briefly summarize your understanding of the role of geology in media theory.
In the time that humans have been the dominating influence on the environment, we have used technical media to analyze and influence the environment, and the technological media itself comes from the compounds and elements of the earth itself. Discussions concerning geology in media theory address materiality (and wastefulness) of technologies in historical and environmental context. This can be communicated using art and design and be presented using media culture.

3. Do you agree with Steyerl's take on the implications of spam on our political present in "Digital Debris"? Why or why not?
I do agree with Steyerl. Information on the internet is created in excess and for consumption. When scrolling through a feed, we disregard more information than we take in. This has already extended to human beings and their portrayal of themselves on social media platforms through excessive posting in their quest for likes or responses from whoever view the post.

4. What do you think are the implications that space, context, and curatorial direction can have on an artwork?
These can all have an effect on the audience and the artwork's reception. When presented in a compilation with other works, this can distract from the message of the piece, and remove the viewer's ability to immediately react and reflect on what they just watched/saw/experienced. It makes the experience more about consumption than understanding. On the other hand, if there was a collaboration of artwork, the artists' messages could be reinforced when everything is viewed together.

Week 3

1. In your own words, what purpose can a journal serve in the creative process?
Documentation is important. It can help form, develop, and clarify ideas, and can be referenced later. Documenting process can show and even cause improvements in your work. It can also help by showing a different perspective from a different point in time.

2. Why is it valuable to refrain from editing your brainstorming process or discarding 'mistakes'?
Like the saying goes, you learn from your mistakes. Keeping your 'mistakes' can motivate you to reflect and make improvements. Also it can act as a reference to what you have tried and doesn't work so you don't repeat the same mistake in the future.

3. What is the difference between primary and secondary sources? Why do you think it is valuable to include both types of sources when doing research?
Primary sources are a first hand account, for example an art piece. Secondary sources are anything that is not a primary source, for example an article about an artwork or exhibit. Primary sources are important to provide accuracy and gives you an opportunity to your own impression on the subject. Secondary sources are important because they can provide a lot of useful information and different perspectives.

4. How do you think each level of analysis in the constructive critique model can be useful when incorporated into your journal?
Response and Description are good for recording your initial impression and documenting details. These details can help with the Analysis and Interpretation which helps give you a deeper insight to what you are critiquing. Evaluation and Judgement ties together everything that you have observed and learned into an informed response. These are helpful when incorporated into the journal because it helps to focus and reflect on all aspects of a piece and challenge our initial impression of it.

5. Based on the overview of each exhibition (17 Volcanoes and Radio Malaya), how would you connect each of these exhibitions to your own personal understanding of digital culture?
My personal understanding is that digital culture involves the use of technology and its impact and influence on society. Radio Malaya showed an evolution of culture and displayed how different influences were reflected in the artworks. 17 Volcanos was a terrific example of how different technologies can be used in different ways to visual document, create art, and relate experiences.

Week 2

1. What are the three main approaches to critical design practice?
As stated in "Introduction to Speculative Design Practice," the first approach is for designers to reflect on and critically question their own design practice. The second approach is a macro-perspective, to rethink design discipline. And the third approach is to consider broader social and political phenomena.

2. In your own words, how does speculative design differ from conventional/commercial design?
Conventional or commercial design practice focuses on utility, aesthetics, established design principles, laws or rules, and the designs are created with the intention of using them or accomplishing a goal established at from the beginning of the design process. It draws on a collaborative critique, usually by peers or the intended audience. Speculative design practice considers many possibilities, can ignore or deviate from traditional design guidelines, and it's purpose is to push boundaries. The critique, as stated in the first and second approaches above, should come from the designer themselves first and foremost. This practice seems more focused on discovery and learning through reflection and questioning. Rather than being goal oriented, it is more solution oriented.

3. Discuss the current criticism of the current dominant approach to speculative practice: "Eurocentric ... excessive focus on aesthetics, tendency to escape to dystopian scenarios, vanity and separation from the real world." Based on the Food Design Speculations examples on the Lesson plan, the Project examples in the Dunne and Raby website, or any other examples you can find (please cite a couple to support your arguments, you don't have to use all of them), do you agree with these criticisms?
For the Food Design Speculations, I found a few of the designs to be very far from the "real world." My group was assigned the "Ethical Cannibals" card with the speculative design from www.bitelabs.org. I found this proposal to be very radical and unethical. As a result I was incredible critical, but that it stye purpose to this design process: to make people think and ask questions, not necessarily to propose something that can be implemented in the "real world." Dunne and Raby created a project called "Evidence Dolls." It's purpose was to be "part of an ongoing investigation into how design can be used as a medium for public debate" (http://www.dunneandraby.co.uk/content/projects/69/0). In this way I would say that this design approach is meant for artistic purposes only. My criticism is that if the design is meant to encourage debate based on speculation (rather that realistic scenarios or facts), how effective/productive/helpful can that debate potentially be?