The document appears to be a summary of tweets and discussions from the #RedeyeNetwork event on November 26, 2013 in Manchester, UK. It includes tweets on topics like what it means to be a 21st century photographer, rethinking photoeducation, developing new partnerships and collaborations, the role of the curator, archiving images online, and challenges around scale and visibility in social media. Speakers at the event like Jonathan Shaw shared their presentations and perspectives on emerging issues and opportunities in photography.

1. Redeye Network Event
26th November, 2013
Media City, Manchester, UK
NEW
MINDSETS ON
PHOTOGRAPHY
JONATHAN
SHAW
#RedeyeNetwork

2. 21st century teacher
what does this look like...
#RedeyeNetwork

3. Being biased...
For me digital media enabled this...
#RedeyeNetwork

4. Being biased...
...to transform into this!
#RedeyeNetwork

5. Being biased...
For me digital media enabled this...
#RedeyeNetwork

6. Being biased...
...to transform into this!
#RedeyeNetwork

7. Being biased...
...and result in this!
#RedeyeNetwork

8. Photographic Mediations iTunesU Collection
1,000,000
listens
Being biased...
...and this!
#RedeyeNetwork

9. The first tablet?
...camera obscura as experience (via Wikipedia)
#TPGallery
#RedeyeNetwork

10. New?
...the digital experience
#RedeyeNetwork

11. #RedeyeNetwork

12. Thinking differently...
What can happen when you consider your approach and invite people join you!
#RedeyeNetwork

13. Provenance of arts education
...as craft
© Cheltenham Art Gallery & Museum
#RedeyeNetwork

14. Relevance...
...Google Search App interview
#RedeyeNetwork

15. “
Shaking up photoeducation
”
#RedeyeNetwork

16. We should be openly engaged
...politically, socially and culturally
#RedeyeNetwork

17. Globally visible
...phonar.org in 10 weeks had 15,000 people from 152 cities
#RedeyeNetwork

18. “
What does it mean to be a 21st
century photographer?
Networked
...Image: Jenny Swerdlow & Rachel Appleby
#RedeyeNetwork

19. Open door
...establishing new rules
#RedeyeNetwork

20. Connected
...conversational
#RedeyeNetwork
#AdobeEdu12

21. Collaborative
...internationally
#RedeyeNetwork

22. Personal
...meet the tutors Jonathan Worth and Matt Johnston
#RedeyeNetwork

23. Open resources
...freely available
#RedeyeNetwork

24. Sharing
Licensing
#PEDARE2013
#RedeyeNetwork

25. Conversations
...before the doors of the classroom are open, dialogues have already been shared.
#RedeyeNetwork

26. Integrated
...featured in What’s Hot in Photography apps!
#RedeyeNetwork

27. Open experiences
Sharing resources
Conversations with communities
Critically engaged
Principles
...to think about
#RedeyeNetwork

28. Open experiences
Sharing resources
Conversations with communities
Critically engaged
Trusted
Connected
Hub (rather than supplier)
Principles
...to think about
#RedeyeNetwork

29. Effective
...does not equal to scale!
#RedeyeNetwork

30. “
In fact, the more engaging social media
becomes, the less scale it delivers. Think
about it. We all know that social media is
essentially conversational and
personalised. But conversations only
work with a small group of people: the
more people you add to a conversation
(the more scale you add to it), the less
effective it becomes.
Richard Stacy
...Why social media is a dangerous concept
#RedeyeNetwork

31. Going back to the drawing board
...and work out what you want to say!
#RedeyeNetwork

32. Revisited
The traditional reading list... most visited post in the class...(Friends of Phonar Book List)
The ‘Reading List’ is now the
#DigHum13

33. New Partnerships!
...a ‘living’ book-project
#RedeyeNetwork

34. ANDY
ADAMS
DAVID
CAMPBELL
CHARLOTTE
COTTON
MISHKA
HENNER
STEPHEN
MAYES
KATRINA
SLUIS
COMMUNITY LEADER
ACADEMIC
WRITER
POST-PHOTOGRAPHER
AGENT
DIGITAL CURATOR
Collaborators
more coming...
#RedeyeNetwork

35. Sneak preview
...Openly licensed
#RedeyeNetwork

36. JONATHAN
SHAW
mail@jonathan-shaw.com
@time_motion
www.jonathan-shaw.com
www.newfotoscapes.org
Presentation available at:
http://slidesha.re/1gftIZ6
#RedeyeNetwork
#INTED2013

37. 1.
It’s like a brand new media object. It’s a media experience.
2.
That’s a hot topic how people feel about the concept of being a curator.
3.
I’m not even sure if we should be calling it photography anymore, since the great majority of it isn’t technically photography at all. They’re just
images.
4.
I always think about an audience engagement component.
5.
So language is actually still a significant constraint.
6.
One thing that has happened within the creative industries in the twenty-first century, has been an aging of creative industries and their workforces.
7.
I think the first stage of emancipation is to abandon hope that the situation is any less challenging or in need of radical change than it really is.
Across the world, creative people in the fields of photography, curation, activism, writing, filmmaking, know that the money is spent.
8.
I have also been interested in creating structures for iterative processes, because we are at a time that is not definitive in a conventional sense - it is in flux.
9.
I don’t think a photographer needs to be a curator at heart, but I think a photographer doesn’t need to understand the curatorial mode of their
practice for sure.
10. The artists who I think will define this moment, who do define this moment for other artists are actually invisible to most cultural institutions.
11. Understand the digital not as a set of technological developments, but an entirely new conceptual landscape.
12. I do think the production of photographic icons is something that is undertaken by the photographic community, rather than actually the wider public, or
even media community generally.
13. The lament for a front page is something that always occurs within the context of an anxiety about abundance. I think this anxiety is way overstated.
14. So here the important thing is a distinction between potential and actuality.
15. We moved to the idea of visual storytelling as kind of a rubric. Because we wanted to locate things into that much larger space and zone.
16. I use the image in a way in which to open up questions of provenance really, because really once a photograph is on a screen is it video, is it animation?
17. Photography is about a computational object.
18. I'm sure methods for us to disappear will become more prevalent and valued over time. But for an artist, visibility is significant.
19. “Actually, your value is integrity. The point is that you’re credible and people believe you. That’s what people will pay for; not the images.”
20. What I love is the degree of visual literacy that we now live with.
21. “What happens to all these pictures? How do we archive them?” My question was, “Why?” Why would you archive them?
22. I think we do live with this slightly specious belief that there is such a thing as an important image and such a thing as an unimportant image.
23. Video is now assuming the role of a factual vehicle. “This is what it looked like; this is what happened; this is who was there.” The picture, the
still photograph becomes very much more about the idea of.
24. I think the limiting resource at this point is imagination.
From the book...
What do we think?
#RedeyeNetwork