Manuel Carrión: Diagrammatica Question 5

[This is the fifth of five questions about the the Diagrammatica ProjectThe questions were provided by Manuel Antonio Carrión Lira of the Design School at the University of Valparaiso, Chile (www.uv.cl).  An abstract of Manuel's research and the full set of questions can be viewed here.]

  •  Manuel Carrión: Based on your experience and the work you have been developing. Is there a specific diagram you would suggest to look at to be analyzed?

I’ll answer this question in three stages: (1) There are too few studies exploring specific diagrams and their communicative function. Thus, any study examining a particular diagram would offer a useful model. Such study would entail aesthetic, design, cultural, and semiotic considerations in relation to the role or purpose of the diagram. An important distinction should also be drawn between families of visual tools.   Continue reading

Manuel Carrión: Diagrammatica Question 4

[This is the fourth of five questions about the the Diagrammatica ProjectThe questions were provided by Manuel Antonio Carrión Lira of the Design School at the University of Valparaiso, Chile (www.uv.cl).  An abstract of Manuel's research and the full set of questions can be viewed here.]

  •  Manuel Carrión: Diagrams as drawings need a surface; they need a vehicle to work through. How do you think the surface and technology affects diagram relations?

This is an interesting question as it addresses the materiality of the diagram: how is it traced? Where is it traced? With what is it traced?  And it actually points in two directions.  First, the surface, or substrate (the material object upon which the diagram is inscribed), influences the design.  And second, the tools of inscription play a role.  A blank sheet of paper can display a diagram.  But the design possibilities offered by a box of coloured markers are widely different than those offered by a single pencil or a collection of paint brushes. Continue reading

Manuel Carrión: Diagrammatica Question 3

[This is the third of five questions about the the Diagrammatica ProjectThe questions were provided by Manuel Antonio Carrión Lira of the Design School at the University of Valparaiso, Chile (www.uv.cl).  An abstract of Manuel's research and the full set of questions can be viewed here.]

  •  Manuel Carrión: In your paper ‘Theory Pictures as Trails: Diagrams and the Navigation of Theoretical Narratives’ you define diagrams as cultural objects and also as tools for navigating ecologies of information.  I can understand that if they are tools it is because they have a function, an objective.  The importance of a methodology to build diagrams then is crucial. If we understand design practice as a discipline that shapes matter into form, where would you place design practice in the discussion of constructing diagrams?

A diagram operates as a pedagogical tool, an abstract machine.  It helps readers build new conceptual structures, new landscapes of imagination and awareness.  C.S. Peirce lists the diagram as a particular type of icon.  Like any icon, the diagram presents a direct likeness of its content.  But the diagram is not iconic of any particular element; it’s an icon of relationships. The diagram iconically represents the relations between elements.  And by contemplating these relationships, we attain deeper insight into the constituent elements. Continue reading

Manuel Carrión: Diagrammatica Question 2

[This is the second of five questions about the the Diagrammatica ProjectThe questions were provided by Manuel Antonio Carrión Lira of the Design School at the University of Valparaiso, Chile (www.uv.cl).  An abstract of Manuel's research and the full set of questions can be viewed here.]

  • Manuel Carrión: Do you think that there are some basic elements that make a diagram what it is? What makes a good diagram?

At the basic level, I see a diagram as a collection of language and lines.  The words present elements or fields of significance, while lines form the vectors or trails that connect them.  Continue reading

Manuel Carrión: Diagrammatica Question 1

[This is the first of five questions about the the Diagrammatica ProjectThe questions were provided by Manuel Antonio Carrión Lira of the Design School at the University of Valparaiso, Chile (www.uv.cl).  An abstract of Manuel's research and the full set of questions can be viewed here.]

  • Manuel Carrión: About your project Diagrammatica. How were the diagrams selected? Which were the categories of diagrams, if there was any? What was the curatorial process like?

Diagrammatica began with the diagrams I collected during my Ph.D. studies in communication.  I have a particular interest in visual communication and spatial design and diagrams utilize the visual space of writing to communicate complex ideas in an innovative way.  Continue reading

Georgetown Middle East Partnership Initiative (MEPI)

I taught a one-day social media workshop for the Middle East Partnership Initiative (MEPI) @ Georgetown.  My presentation slides can be found here: MEPI-social media.  The students were excellent and we had a great discussion. Slides from the courses can be downloaded here: MEPI-full

As part of the program, the students are documenting their experience with WordPress blogs. A big thanks to CNDLS for helping out and getting everyone up and running.  Follow the MEPI 2012 adventures and discoveries at the links below: Continue reading

Manuel Carrión Research Process

[The text of this post is copied from a document sent to me by Manuel Antonio Carrión Lira.  Manuel is exploring diagrammatic aesthetics and diagram practice in the Design School of the University of Valparaiso, Chile (www.uv.cl).  He previously worked at CRAC Valparaíso, which displays a wonderful diagram on its homepage.  I'll be answering Manuel's questions about the Diagrammatica Project in future posts. - J.R.]

The following questions are part of Manuel Carrión Lira’s research project for his Thesis assignment in the Bachelor of Design. The research is about diagrams, specifically how can we manage their construction, what does this implies and what should be the role of design in this process. This investigation aims to initiate a much deeper and longer process of investigation regarding diagrams, design, philosophy and semiotics, this is why the main objective is to gather the main theoretical materials and references to build what is called a ‘tool box’ to draw some specific research topics. Continue reading

Digital Media Production Certificate – Summer 2012

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This summer, I'm offering a two-week Digital Media Production Certificate through Georgetown University's Center for Continuing and Professional Education.  The program is designed as a crash-course in video and media production for incoming graduate students in Georgetown's Communication, Culture, & Technology Program, but enrollment is open to anyone.  I'd recommend it for educators, grad students,social media professionals, or anyone wishing to develop video and media production skills.  No previous technical knowledge is required. The program emphasizes a conceptual understanding of production practice alongside the development of technical skills.  Students learn camera controls, microphones, and audio/video editing with Final Cut Pro.  Over the course of two weeks, participants will shoot, edit, and produce a five-minute video.  The videos will be developed along with lectures and discussions of media aesthetics and production design. Upon completion, participants receive a Georgetown University Certificate in Digital Media Production.

The program runs from August 13-24 and consists of two courses: "Audio and Video Development" and "Digital Filmmaking."  Students must register for and complete both courses to earn the certificate.  For more information and registration, please visit http://scs.georgetown.edu/programs/336/certificate-in-digital-media-production or contact J.R. Osborn  - who3[@]georgetown.edu - or Aaron Urbanski  - dau[@]georegtown.edu.

Mediated Borders: Rouch, Reversal, and Reflections on Ethnographic Film

An AASRC Symposium Workshop
May 24, 2012
9:00 a.m. – 4:00 p.m.
University of California, San Diego (UCSD)

Sponsored by: The African and African American Studies Research Center (AAASRC) at the University of California, San Diego (UCSD)

Organizers: Bennetta Jules-Rosette, Director AAASRC (UCSD) and J.R. Osborn (Georgetown University)

Mediated images transcend and flow across cultural borders in multidirectional ways.  This panel addresses ethnographic film and media as a source of paradigms for border crossings.  Emphasis is placed on films dealing with Africa and the African diaspora.  Films carry their own passports and visas as they travel from sites of production to both local and global screenings.  Increasingly, online videos may sidestep official checkpoints of customs and migration to reach wider and more diverse audiences.

Continue reading

Behind the Scenes: Cinématon

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I recently produced a behind the scenes look at Gérard Courant filming Cinématon, the world's longest running film production.  Katy Chang and I were lucky enough to get our portraits taken during the premiere of Glitter Dust: Finding Art in Dubai at the 2012 Gulf Film Festival in Dubai. We are now co-stars with such luminaries as Godard, Terry Gilliam, Ultraviolet, and of course Gérard himself. Gérard’s work is showcased at this year’s festival, where he is screening selections of Cinématon that were filmed in Dubai over the past year. We chose to honor Gérard by filming him filming us.