0.
guide 1.
introduction 2.
method as field of discussion
3. practice
4. theory
5. conclusion and further discussions
| 3.
practice |
3.1 what is multimedia performance? Artistic context, “performance” and contemporary perspectives on multimedia performance. |
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3.3 the pieces 3.4 recap chapter 3 The preceding chapter 3. "Practice. A Collaborative, Experimental Performance Production", has covered my collaborative practice and performance pieces of Extended, and emphasises the particular issues and features of digital media that were raised explored through creative practice. I have done so, much informed by the theoretical framework of cultural historical activity theory. Activity theory is seldom used in media studies. Why this move towards perspectives on learning to cover my practice, when there are existing litterature on media-production studies? In my view, activity theory hold two interrelated statements or theories that are relevant to this thesis on practice-based method towards digital media that, for instance, media ethnographic studies of production environments may not (e.g. Ytreberg 2002). Apart from an apparatus that helps me to abstract and articulate my own practice and the driving factors of the collaborative (learning-) process, activity theory offers an underlying, basic theory of how conscious learning emerges from activity, and not as a precursor to it, Much related, activity theory offers a theory of how artifacts, such as digital media and theoretical knowledge about them, may be altered and refined by practice: By framing the interdisciplinary design processes and collaborative practice of Extended into two primary, interacting activity systems of choreographers and media students, contradicting factors such as objects and artefacts become apparent. These contradictions do not only call attention to the challenges of interdisciplinary and collaborative activities, but expose the expansive learning potential of such. That is, how both conceptual (e.g. digital media theory) and material (e.g. digital media) artifacts or tools alter the activity and are being altered by this activity. The ways in which we raised and explored issues and features of digital media in the four pieces is to be considered a combination of the theoretical, explicit and pre-defined issues and features that we wanted to explore and the more creative, process-oriented, collaborative and in many ways contradicting context that compelled us to consider, for us, new and innovative issues and features of digital media through practice [43. related creative media audience research]. This discussion will be taken up further in Section 4.4 “Artifacts of expression and expressive artefacts” and continued in my final chapter 5. "Conclusion and further discussions", trying to blend the two major chapters of the thesis - the present Chapter 3. "Practice" and the following Chapter 4. "Theory". Activity theory offers both a basic theory of why practice matters, and a complex apparatus to pin down the driving factors of collaborative practice. Activity theory hence helps me both to argue the positive interplay of practice and knowledge-making (learning/research) and gives me an apparatus to abstract and articulate practice. The two folded structure derives from how practice-based method is both field of inquiry and research design of this thesis and corresponds with the two research questions put forward: How may practice-based methods inform studies of digital media? How may the interplay between practice and theory be conceptualised? These will be answered more explicitly in the following chapter with regard to digital media studies. |
4 . theory>>> |
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Practice-based Method. Exploring Digital Media through
the Dynamics of Practice, Theory, and Collaborative, Multimedia Performance
Hovedoppgave i mediavitenskap for cand.filol
graden, Universitetet i Oslo, Institutt for medier og kommunikasjon, Mai
2006, Idunn Sem
