Papers by Ernesto Leon G De la Rosa-Carrillo
Un ensayo visual al mismo tiempo ciencia ficción que académico en el que se interroga la historia... more Un ensayo visual al mismo tiempo ciencia ficción que académico en el que se interroga la historia del Museo de Arte de Ciudad Juárez (INBA), mismo que se propone como una nave espacial alienígena que aterrizó en el desierto de la ciudad fronteriza lista para acatar una serie de directivas federales bajo el esquema del Programa Nacional Fronterizo. El ensayo emerge luego de una investigación basada en el arte que duró un año y produjo también una exhibición titulada Museo: Conversaciones de Archivo
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Una conversación traducida en artículo que yuxtapone las estrategias de espionaje cibernético apa... more Una conversación traducida en artículo que yuxtapone las estrategias de espionaje cibernético aparentemente llevadas acabo por el estado mexicano con las prácticas pedagógicas de un espacio hacker en la Ciudad de México. Se interroga a la educación institucional como un dispositivo capaz de espiar a sus usuarios o ser hackeado para proteger a los mismos
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Emoji literacy is explored as a particular brand of digital visual literacy through three distinc... more Emoji literacy is explored as a particular brand of digital visual literacy through three distinct lesson plans developed within different contexts that focus on the expressive potential of these colorful pictographs. Largely unconcerned with the concrete communication afforded by alphabetical characters, each exploration revels on the ambiguity of emoji phrases that refuse to be simply read and demand to be interpreted, perhaps even translated into intellectual experiences that might deviate from the affective dimensions traditionally associated with them. The first lesson plan was specifically designed to take advantage of emoji possibilities as storytelling devices with 6 and 7-year-olds, whose reading and writing skills might still be developing. The second case was developed with young slam poets to explore the expressive limits of pictographs meant to instantly convey “thoughts or emotions without inspiring strong likes or dislikes” (Nageshi, 2014). Finally, a group of visual ...
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Senses & Experiences: The Book of Selected Readings, 2018
Emoji literacy is explored as a particular brand of digital visual literacy through three distinc... more Emoji literacy is explored as a particular brand of digital visual literacy through three distinct lesson plans developed within different contexts that focus on the expressive potential of these colorful pictographs. Largely unconcerned with the concrete communication afforded by alphabetical characters, each exploration revels on the ambiguity of emoji phrases that refuse to be simply read and demand to be interpreted, perhaps even translated into intellectual experiences that might deviate from the affective dimensions traditionally associated with them. The first lesson plan was specifically designed to take advantage of emoji possibilities as storytelling devices with 6 and 7-year-olds, whose reading and writing skills might still be developing. The second case was developed with young slam poets to explore the expressive limits of pictographs meant to instantly convey “thoughts or emotions without inspiring strong likes or dislikes” (Nageshi, 2014). Finally, a group of visual arts undergrads participated in the third emoji plan, which expanded on Eisenstein's Montage Theory as discussed in his seminal 1929 essay, The cinematographic principle and the ideogram. Together, these three emoji lessons trace a map that is not meant to quantify and exhaust emoji use in everyday conventional communication but to expand emoji literacy beyond the reaches of the written word and render it capable of fashioning its own poetic, creative and expressive dimensions that can only be fully interrogated within the art classroom.
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In conversation with Estrella Soria, Gato Viejo, Hacklib, and jorge David Garcia (AKA Sisifo Pedr... more In conversation with Estrella Soria, Gato Viejo, Hacklib, and jorge David Garcia (AKA Sisifo Pedroza)
A brief exploration of hacking principles as applied to pedagogical practices deployed within a hacker space in México City where state-sponsored surveillance of civilians runs deed and wide. Questions are posed about what a pedagogy of the hack may mean for educational institutions that frequently resemble proprietary technology and devices.
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FWD: Museums, 2018
Equal parts science fiction, visual essay and academic paper. An arts-based reflection on the Art... more Equal parts science fiction, visual essay and academic paper. An arts-based reflection on the Art Museum of Ciudad Juárez that reinterprets its history through 25 panoramic collages, which were generated by remixing it's archive. A case is made to consider the museum an alien spaceship that landed in the middle of the desert with the specific mission to refine the locals.
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Si bien el meme de Internet se asocia principalmente con imágenes con leyendas redactadas por int... more Si bien el meme de Internet se asocia principalmente con imágenes con leyendas redactadas por internautas para responder irónicamente a los acontecimientos actuales, el concepto es más amplio. Extrapolado de una idea original de Dawkins (1976), el meme denota células culturales, análogos a los genes, fácilmente duplicables. Así el meme de Internet puede designar cualquier unidad cultural expresada o popularizada en Internet desde las ya mencionadas imágenes hasta las ladies y los lords de la semana. Con esta perspectiva el meme de Internet se discutirá en términos afines a la teoría actor-red (Latour, 2005) para trascender sus formas aparentes y enfocarse en los actantes del proceso memético (herramientas de Internet, comunidades virtuales, etc.) mismos que dictan la estética y el diseño de estas expresiones predicadas en la reproducción rápida y fidedigna para convertirse en objetos capaces de comunicar y encarnar la cultura visual que domina nuestra cotidianidad en Internet.
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Internet Memes transverse and sometimes transcend cyberspace on the back of impossibly cute LOLca... more Internet Memes transverse and sometimes transcend cyberspace on the back of impossibly cute LOLcats speaking mangled English and the snarky remarks of Image Macro characters always on the lookout for someone to undermine. No longer the abstract notion of a cultural gene that Dawkins (2006) introduced in the late 1970s, memes have now become synonymous with a particular brand of vernacular language that internet users engage by posting, sharing and remixing digital content as they communicate jokes, emotions and opinions.
For the purpose of this research the language of Internet Memes is understood as visual, succinct and capable of inviting active engagement by users who encounter digital content online that exhibits said characteristics. Internet Memes were explored through an Arts-Based Educational Research framework by first identifying the conventions that shape them and then interrogating
these conventions during two distinct research phases.
In the first phase the researcher, as a doctoral student in art and visual culture education, engaged class readings and assignments by generating digital content that not only responded to the academic topics at hand but did so through forms associated with Internet Memes like Image Macros and Animated GIFs. In the second phase the researcher became a meme literacy facilitator as learners in three different age-groups were led in the reading, writing and remixing of memes during a month-long summer art camp where they were also exposed to other art-making processes such as illustration, acting and sculpture. Each group of learners engaged age-appropriate
meme types: 1) the youngest group, 6 and 7 year-olds, wrote Emoji Stories and Separated at Birth memes; 2) the middle group, 8-10 year-olds, worked with Image Macros and Perception memes, 3) while the oldest group, 11-13 year-olds, generated Image Macros and Animated GIFs.
The digital content emerging from both research phases was collected as data and analyzed through a hybrid of Memetics, Actor-Network Theory, Object Oriented Ontology, Remix Theory and Glitch Studies as the researcher shifted shapes yet again and became a Research Jockey sampling freely from each field of study. A case is made for Internet Memes to be understood as an actor-network where meme collectives, individual cybernauts, software and source material are all actants interrelating and making each other enact collective agencies through shared authorships.
Additionally specific educational contexts are identified where the language of Internet Memes can serve to incorporate technology, storytelling, visual thinking and remix practices into art and visual culture education.
Finally, the document reporting on the research expands on the hermeneutics of Internet Memes and the phenomenological experiences they elicit that are otherwise absent from traditional scholarly prose. Chapter by chapter the dissertation was crafted as a journey from the academic to the whimsical, from the lecture hall to the image board (where Internet Memes were born), from the written word to the remixed image as a visual language that is equal parts form and content that emerges and culminates in a concluding chapter composed almost entirely of popular Internet Meme types.
An online component can be found at http://memeducation.org/
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This paper interrogates the landscape of Ciudad Juárez ca. 2013 through two billboards that once ... more This paper interrogates the landscape of Ciudad Juárez ca. 2013 through two billboards that once stood back to back from each other. One an advertisement for personal security in the form of armed guards while the other promised salvation through choice of beliefs.
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Literacy of the Glitch is a website that examines the glitch and the potential it presents in ter... more Literacy of the Glitch is a website that examines the glitch and the potential it presents in terms of a learning experience related to new media and some of the practices associated with them. It consists of seven Glitch Portraits, all crafted out of Animated GIFs, each touching upon different but interrelated aspects of the glitch. Drawing on notions from Arts-Based Educational Research, Glitch Studies, Actor Network Theory, Object Oriented Ontology, Radical Cartography and practices associated with Remix, Net Art and Internet Visual Culture, Literacy of the Glitch re-frames failure as a conceptual vehicle capable of interrogating social and technological conventions through aesthetic forms.
The article [twitter-ticle] itself adopts a similar stance engaging social media through the formal conventions of Twitter: hash-tags are employed to indicate keywords and thread together strings of related sentences which are up to 140 characters long [118 when images are attached, 116 when hyperlinks are included].
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Conference Presentations by Ernesto Leon G De la Rosa-Carrillo
Para el Congreso Internacional de Arquitectura y Diseño ECITEC
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Papers by Ernesto Leon G De la Rosa-Carrillo
A brief exploration of hacking principles as applied to pedagogical practices deployed within a hacker space in México City where state-sponsored surveillance of civilians runs deed and wide. Questions are posed about what a pedagogy of the hack may mean for educational institutions that frequently resemble proprietary technology and devices.
For the purpose of this research the language of Internet Memes is understood as visual, succinct and capable of inviting active engagement by users who encounter digital content online that exhibits said characteristics. Internet Memes were explored through an Arts-Based Educational Research framework by first identifying the conventions that shape them and then interrogating
these conventions during two distinct research phases.
In the first phase the researcher, as a doctoral student in art and visual culture education, engaged class readings and assignments by generating digital content that not only responded to the academic topics at hand but did so through forms associated with Internet Memes like Image Macros and Animated GIFs. In the second phase the researcher became a meme literacy facilitator as learners in three different age-groups were led in the reading, writing and remixing of memes during a month-long summer art camp where they were also exposed to other art-making processes such as illustration, acting and sculpture. Each group of learners engaged age-appropriate
meme types: 1) the youngest group, 6 and 7 year-olds, wrote Emoji Stories and Separated at Birth memes; 2) the middle group, 8-10 year-olds, worked with Image Macros and Perception memes, 3) while the oldest group, 11-13 year-olds, generated Image Macros and Animated GIFs.
The digital content emerging from both research phases was collected as data and analyzed through a hybrid of Memetics, Actor-Network Theory, Object Oriented Ontology, Remix Theory and Glitch Studies as the researcher shifted shapes yet again and became a Research Jockey sampling freely from each field of study. A case is made for Internet Memes to be understood as an actor-network where meme collectives, individual cybernauts, software and source material are all actants interrelating and making each other enact collective agencies through shared authorships.
Additionally specific educational contexts are identified where the language of Internet Memes can serve to incorporate technology, storytelling, visual thinking and remix practices into art and visual culture education.
Finally, the document reporting on the research expands on the hermeneutics of Internet Memes and the phenomenological experiences they elicit that are otherwise absent from traditional scholarly prose. Chapter by chapter the dissertation was crafted as a journey from the academic to the whimsical, from the lecture hall to the image board (where Internet Memes were born), from the written word to the remixed image as a visual language that is equal parts form and content that emerges and culminates in a concluding chapter composed almost entirely of popular Internet Meme types.
An online component can be found at http://memeducation.org/
The article [twitter-ticle] itself adopts a similar stance engaging social media through the formal conventions of Twitter: hash-tags are employed to indicate keywords and thread together strings of related sentences which are up to 140 characters long [118 when images are attached, 116 when hyperlinks are included].
Conference Presentations by Ernesto Leon G De la Rosa-Carrillo
A brief exploration of hacking principles as applied to pedagogical practices deployed within a hacker space in México City where state-sponsored surveillance of civilians runs deed and wide. Questions are posed about what a pedagogy of the hack may mean for educational institutions that frequently resemble proprietary technology and devices.
For the purpose of this research the language of Internet Memes is understood as visual, succinct and capable of inviting active engagement by users who encounter digital content online that exhibits said characteristics. Internet Memes were explored through an Arts-Based Educational Research framework by first identifying the conventions that shape them and then interrogating
these conventions during two distinct research phases.
In the first phase the researcher, as a doctoral student in art and visual culture education, engaged class readings and assignments by generating digital content that not only responded to the academic topics at hand but did so through forms associated with Internet Memes like Image Macros and Animated GIFs. In the second phase the researcher became a meme literacy facilitator as learners in three different age-groups were led in the reading, writing and remixing of memes during a month-long summer art camp where they were also exposed to other art-making processes such as illustration, acting and sculpture. Each group of learners engaged age-appropriate
meme types: 1) the youngest group, 6 and 7 year-olds, wrote Emoji Stories and Separated at Birth memes; 2) the middle group, 8-10 year-olds, worked with Image Macros and Perception memes, 3) while the oldest group, 11-13 year-olds, generated Image Macros and Animated GIFs.
The digital content emerging from both research phases was collected as data and analyzed through a hybrid of Memetics, Actor-Network Theory, Object Oriented Ontology, Remix Theory and Glitch Studies as the researcher shifted shapes yet again and became a Research Jockey sampling freely from each field of study. A case is made for Internet Memes to be understood as an actor-network where meme collectives, individual cybernauts, software and source material are all actants interrelating and making each other enact collective agencies through shared authorships.
Additionally specific educational contexts are identified where the language of Internet Memes can serve to incorporate technology, storytelling, visual thinking and remix practices into art and visual culture education.
Finally, the document reporting on the research expands on the hermeneutics of Internet Memes and the phenomenological experiences they elicit that are otherwise absent from traditional scholarly prose. Chapter by chapter the dissertation was crafted as a journey from the academic to the whimsical, from the lecture hall to the image board (where Internet Memes were born), from the written word to the remixed image as a visual language that is equal parts form and content that emerges and culminates in a concluding chapter composed almost entirely of popular Internet Meme types.
An online component can be found at http://memeducation.org/
The article [twitter-ticle] itself adopts a similar stance engaging social media through the formal conventions of Twitter: hash-tags are employed to indicate keywords and thread together strings of related sentences which are up to 140 characters long [118 when images are attached, 116 when hyperlinks are included].