Course:Recurring Questions of Technology/Keywords/Q R

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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Queer

Queer has had many different definitions over time and still is a term used to mean a variety of different things to different people. It was first used in the English language in 1513 to mean strange, odd, peculiar, and eccentric. It has also been used to describe people who are perceived to have a questionable character. Other uses of the word are synonymous with bad and disreputable. However, there has been a shift towards using the word to describe positive attributes in people, to identify groups of people and to have a meaning that is also empowering and celebrated. Its lack of exact definition is illustrated by Jagose “[1]” (1996): “As queer is unaligned with any specific identity category, it has the potential to be annexed profitably to any number of discussions. In the history of disciplinary formations, lesbian and gay studies is itself a relatively recent construction, and queer theory can be seen as its latest institutional transformation." Furthermore, Hennessey (1994) discusses how the word “queer” “[2]” “embraces a proliferation of sexualities (bisexual, transves-tite, pre- and post-op transsexual, to name a few) and the com-pounding of outcast positions along racial, ethnic, and class, as well as sexual lines-none of which is acknowledged by the neat binary division between hetero- and homosexual.” This links the word “queer” with communities of people who chose to identify themselves using this term. Bryson & MacIntosh (2010) reconceptualise queer in terms of its most contemporary meaning and draw on its use in popular culture. “[3]” “Queer is the new gay, queer is fun, and all you need to do queer is to get online, watch TV and go shopping.” This presents one side to views on queer identities based in neo-liberal context. (Katharine Cadman)

R

Read

In common usage, the word read refers to making sense of the written word. However, for a richer, more accurate definition of the word, the origin of the word bears considering. Before 900 CE, the word was derived from Middle and Old English forms reden and raedan respectively, which mean to counsel, advise. This etymology implies that while one who reads is most often engaged in the act meaning-making from written symbols, there is perhaps a deeper sense intended in the use of this word. Reading can often connote the intuitive characteristic of the praxis of reading; hence its use to mean “consider, interpret, and discern” oed This deeper sense is indeed activated in the relation of reading to the digital era because of, not only the amount of reading material that is now easily accessible, but due to the increased variation of text available through coded media. Theresa Dobson's work begins to unearth the questions that recur about what it means to read, what it means to be literate, with particular emphasis on digitalization and multiple texts. Dobson asks us to think about our attachment to “close reading” and what it would mean and allow to read text in more distant, detached ways. In their work, Sentient Cities, Crang and Graham (2007) remind us of De Certeau’s warnings about the bias of the modern consumer society on visual culture, writing that everything is measured “by its ability to show or be shown…a sort of epic of the eye and the impulse to read”. (Maxx Lapthorne)

Realpolitik

Realpolitik Comes from the German, Realpolitik- political realism (1853). Word derives from real and Politik, meaning policy or politics. The term means politics or political doctrine based on practical, rather than moral or ideological, considerations; political realism. (OED) First used in Illustrated Review (1872), “‘Whither shall we drift if, instead of the Gospel, a so-called matter-of-fact policy (Realpolitik) is to gain ground?’” Well known author Aldous Huxley (1926) wrote, “Freudism became the realpolitik of psychology and philosophy.” In 'From Realpolitik to Dingpolitik' by Bruno Latour, he describes Realpolitik as, “a positive, materialist, no nonsense, interest only, matter-of-fact way of dealing with naked power relations” (2005, p. 14). Latour suggests this “realism” in politics was welcomed in the time of Bismarck, after the idealism he replaced, but today using the term realism with politics seems amusing. He argues for a more ‘realistic’ Dingpolitik of ‘object oriented democracy’. This idea is used in Manville and Schiel’s (2008) Generation Y is Wired up and Ready for Action so What’s the Problem?, explaining that while this generation has skill and talents with connectedness to global networks, they lack ‘real’ workplace skills, “The stark reality is that they lack the influencing skills of office realpolitik.” Anne Galloway (2005) in the Design in the Parliament of Things, uses Latour’s argument of the Realpolitik to Dingpolitik, by describing it as ‘from matters –of-fact to matters-of-concern’. He writes, “German realpolitik refers to ‘practical politics, in the sense that ideas and theories are unimportant and can be disregarded in the conduct of political affairs.’” She argues that Latour writes from a perspective of European Union politics. She questions whether politics – assemblies, parliaments – will be matters of concern. The realpolitik is a realistic view of politics. While our contemporary example of politicians may not seem concerned with realistic matters of concern, it is still possible to empower a realistic politic. Whether we call it Dingpolitiks, pragmatism, or realpolitiks does not matter. (Andrew Taylor)

Recurring

The term, recurring, pulled from the title of our course refers to that which “occurs again or is repeated, esp. frequently, regularly, or periodically” (OED) The term originates in the mid 15c., from the Latin, recurrere "to return, come back," from re- "back, again" + currere "to run" from etymology online dictionary.It is interesting to note the term’s relationship with curriculum then, which stems from the same root. This seemingly implies that both our practice of study and its contents are dynamic and temporal and deserving of constant revisiting. Also of interest is that the word’s early use was almost exclusively referent to persons; this reminds us of all of the myths of human journeying, one must leave one’s home and return to see it anew, i.e. one never really returns except perhaps though the psychical passages of the uncanny. Perhaps this is what Melville is referring to when he writes, “Those dim recurrings in the mind”. William Pinar encourages these excursions of the mind in his paper on the study of George Grant’s critique of futurism and its technologies. Grant’s work reminds us that we are historical beings, imploring that only that without a history can have a definition. This is calls to mind, Richard Smith’s presentation introduction in which he ponders the recurring responses to the question of technology, as “never better, better never, and always was”, meaning that, as we study, we must remember that many of our questions are quite similar to the questions that humans have been asking for generations every time the new meet the old. (Maxx Lapthorne)

Remix

As a verb, remix derived originally after classical Latin remiscēre to mix or mingle in. First used in 1613 by T. Lodge tr. Seneca Epist. lxxi, in Wks. (1614) 292 Certainly she shall remix [L. remiscebitur] her selfe with her nature, and returne into her whole. As a noun, remix means sound recording: To create a new version of (a recording) by rebalancing or recombining the separate instrumental or vocal tracks; (now also) to reinterpret or rework (an existing music recording), typically by altering the rhythm or instrumentation, often in a radical way. First used in 1967 by DB,Dec. 15/1 He can revise or remix any of the tracks without destroying those that do not need further work.(http://www.oed.com/view/Entry/162240?rskey=0MbwK8&result=2#eid). The act of remixing involves combining or manipulating cultural artifacts into new kinds of creative blends. Knobel and Lankshear discuss how the term mainly referred to using audio-editing techniques to produce music that sounds completely different from the original. Recently, however, remix has been expanded to include music and sound as well as moving and static images taken from films, television, the Internet, personal archives, and elsewhere (Knobel and Lankshear, 2008, p. 22). Benkler discusses media production such as remixing as being non-market productions in digital platforms that have a particular aesthetic that appeals to (or develops out of) youth culture (Poyntz, class notes, July 10, 2012). While the practice of remixing culture can accommodate a sense of belonging for youth in online communities/platforms, some students (such as ESL/EAL) might suffer in environments that use a lot of remixing techniques, as the cultural artifacts employed are generally well known movies, songs or simply idiomatic language. A person who is not well versed in these discourses would be excluded from certain aspects of remixing culture. This would be for the reason that remixing, by necessity, calls upon the audience to make reference to a variety of cultural artefacts. (Alison Krahn)