By Katie King
Because the Nineties, the information, tradition, and leisure industries have stumbled on themselves experimenting, now not altogether voluntarily, with speaking advanced info throughout a number of media systems. opposed to a backdrop of competing nationwide priorities, altering applied sciences, globalization, and educational capitalism, those industries have sought to arrive more and more differentiated neighborhood audiences, at the same time disbursed creation practices have made the inability of authorial keep an eye on more and more noticeable. As Katie King describes in Networked Reenactments, science-styled television—such because the secrets and techniques of misplaced Empires sequence proven at the PBS software Nova—demonstrates how new technical and collaborative talents are honed through tv manufacturers, curators, hobbyists, lovers, or even students. interpreting how transmedia storytelling is produced throughout structures equivalent to tv and the internet, she analyzes what this all ability for the arts. what kind of wisdom tasks take in those abilities, getting to grain of element, evoking affective intensities, and zooming out and in, representing a number of scales, in addition to many alternative views? And what could this suggest for feminist transdisciplinary paintings, or whatever also known as the posthumanities?
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Extra info for Networked Reenactments: Stories Transdisciplinary Knowledges Tell
Authorships, Audiences, Agencies 16 | 17 ally hides. In travel, knowledges look newer and older accordingly. Viewers and other peripheral participants become users as learning and making knowledges are interconnected and valued quite literally in demonstration. ∞∂ Therefore, it is especially important that reenactments are not a way to keep pasts and presents apart—or a way to keep authorities and alternative knowledges, metaphors and referents, materialities and abstractions, forms of academic expertise and cultural entertainment, or affects and cognitions separated, managed, or delimited by membership.
And my conclusion tries to put all this fervent variety of reenactment into some sort of transmedia story for knowledge work emerging out of the nineties and into some now farther on, wondering about the possibilities of a feminist transdisciplinary posthumanities as it contemplates what an engagement with reenactment, reenaction, and reenactors might sensitize us to, in lively worldly ways, scoping and scaling among agencies. Indeed, scoping and scaling keeps relocating the agencies we have even as we discover that agency and control are rarely at the same scale of analysis.
But what does it mean to call reenactments experiments in communication and also epistemological melodramas? Well, let us turn to one of these documentaries, scaling closely to consider how such reenactments work, as well as scaling and scoping out to make explicit a particular set of knowledge worlds and the work reenactments do to travel among them. K N O W L E D G E S A S ‘‘ S C I E N C E ’’ In 2003 a two-part documentary titled Leonardo’s Dream Machines was broadcast in the United States on pbs.