Giulia Taurino, Ph.D. is a Postdoctoral Fellow at MIT Open Documentary Lab, with a project on adaptive navigation in structured archives of immersive content, in collaboration with SAT Montreal. Her main research interests focus on internet studies, digital humanities, knowledge design. Since September 2019, she is a research affiliate of metaLAB (at) Harvard, where she explore the intersection between A.I. and curatorial practices in museums. Giulia holds a doctorate degree in Media Studies and Visual Arts from the University of Bologna and the University of Montreal.
My research brings together media theory and practice to explore the socio-cultural impact of internet environments (online platforms, digital databases, semantic web) on the creation of knowledge.
In this process, I consider interpretationally primitive concepts as they transit from pre- to post-digital culture.
In my research, I implement digital and computational methods for the study of media. As I adopt a research-and/as-creation approach through the use of creative coding and data visualization techniques, I insert my research in the broader field of digital humanities.
In my pedagogical approach to research-and/as-creation, I embrace three main standpoints: (1) media are art forms; (2) creativity is a solution to a problem; (3) research - and teaching - means responsibility. When teaching media, I ask students to consider two ways of approaching media projects: one that is research-oriented (where does the idea come from? what is the need for it?), and one that is practice-oriented (how can we design/communicate the idea? what is the message we want to deliver?).
"A field full of questions and questioning, working in feminism and writing technologies requires one to ask: What are the politics of making distinctions between the oral and the written? That is to say, what movements of power are involved? What assumptions are made? That orality is one thing? That such distinctions are self-evident? That there are single pivotal historical divides? That these ideal categories exist in the world? Whose "revolutions" are the alphabet, literacy, printing, or the Internet? Global conceptual categories are interrogated by local material practices, but what counts as local? What counts as the material? the practical? the global?"
"As a form of cultural analysis, research-creation partakes of the spectacle of the work of art and its demonstration of alternative frameworks for understanding, communicating, and disseminating knowledge. This is also what defines research-creation as an epistemological intervention on the level of academic methodology. But each and every research-creation project also carries the possibility of acting as an intervention in its own right in terms of the specific fields of inquiry, practice, history, et cetera in which it is embedded."
MIT • Comparative Media Studies |
SAT • Society for Arts and Technologies
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