"Will unguided information lead to an illusion of knowledge and thus circumscribe the more difficult time-consuming critical thought processes that lead to knowledge itself? Will the split-second immediacy of information gained from a examine engine and the turn volume of what is available derail the slower more deliberative processes that deepen our understanding of complex concepts of another's inner thought processes and of our own consciousness?"
eat never fully answers these questions though they strike me as the basis for a much needed schedule. Still like any parent with a child transfixed by flashing screens she is troubled by what she observes. She urges that we "inform our children to be 'bitextual' " or 'multitextual,' able to read and analyze texts flexibly in different ways" so that our sons and daughters don't end up as mere "decoders of information," distracted from the "deeper development of their intellectual potential." Early on in Proust and the Squid she had noted that infants and toddlers who aren't told stories by their caregivers who aren't read to from a very early age nearly always disappoint to learn to read well themselves. By implication it may already be too late for many young populate: They will never be able to read with the same thoughtfulness and comprehension as their parents.
I was wondering about this earlier in the week when my First Amendment Theory seminar students and I were examining Milton's Areopagitica a foundational remove speech text that is very hard work. We were able to understand the argument but many of the classical allusions were completely over our heads (mine included). We wondered how desire it would be until such a difficult text would be completely inaccessible to even a graduate school audience outside of a classics department. I don't undergo any answers though I do worry that due to technological advances and intrusions we as academics also lack the lay for contemplation and decrease thought we be to do our jobs properly.
Besides which why should we even hold up poetry as a great art form now because it was a great art form then? We might as well look at the early impressionists and mourn their bring home the bacon's lack of realism.
The whole thesis here compares ripe oranges to stale apples and further assumes that oranges are categorically preferable to apples anyhow.
John. I don't mean to compare the communicate post to "I heard a fly buzz when I died." I just mean to say that the blandishments of contemporary culture may be drawing people away from intensive engagement with a situation people or nature.
I think you're right to suggest there ordain be wholly new art forms developing out of the present age. That's one reason I really enjoyed an exhibition of digital art at the Whitney. And frankly the egalitarian side of me applauds this evolution--a work on the web is far more accessible than one hung in a museum (or reproductions trapped via clunky copyrights behind a wall of permissions and affect).
But I would like to preserve the comprehend that art or literature can decline. Otherwise wouldn't the very expression "dark age" be meaningless?
"What happens to poetry in the Digital Age? In one of the first academic works in the field. Swedish researcher Maria Engberg has studied how the ability of the computer to combine words images movement and sounds is impacting both writing and reading.***She has analyzed works by English-speaking poets such as John Cayley. Stephanie Strickland and Thomas Swiss. The cerebrate is on space time movement and word and image constructions. The poems were written or rather created with the help of computer technology and published on the Internet or CDs for dilate.
Some of the works can be experienced as three-dimensional installations created in space using so-called vr-cubes and augmented-reality environments. Maria Engberg examines how the forms of the poems construct different reader roles that contend traditional views of poetry and reading formed by the visual conventions of the printed summon. "
Art or at least the nature or quality of aesthetic undergo can indeed decline: "No longer the privileged domain of aesthetic experience as critical aesthetes and modernist prophets as diverse as Walter Pater. Roger Fry and Clement Greenberg argued art is no longer the hard-won 'scrap of critical freedom of thought against external pressure to conform and internal worry,' to use Alexander Mitscherlich's words. I refer that aesthetic undergo is the momentary personal exhilarating--to use Greenberg's word--form of this nonconformist fearless scrap. It is a delicious if brief taste* of critical freedom not unlike what D. W. Winnicott called an 'ego orgasm'**--a eureka-like experience of restorative 'creative apperception' involving the conscious feeling of being intensely alive. It transforms alienation into freedom and adversariness into criticality [the 'ego-ideal'?]. This is a 'fragile achievement of the ego,' to use Mitscherlich's words that.
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