The final is available on ecommons. Please do download the file for extended instructions on how to finish the test, where to drop it off (DARC, Thu 6/9 12-3 pm) and how to be in touch with me. But the bare bones of the final are also below, for your reference:
Part 1: Short answer (100-200 words per response) 15 points each
Respond to 5 of the following 6 prompts.
Answers to questions received by email are in orange.
1) Define “tactical media.” Articulate the difference between strategic and tactical actions.
You can write about tactical/strategic in a general way, you do not have to frame the second part of your response in terms of tactical media.
2) Define “open source,” “remix,” and “public domain.” Briefly explain how one project seen in class represents one (or more) of these terms.
3) What is the difference between “media convergence” and “participatory culture”?
4) How is “sousveillance” different from “surveillance”? How is “surveillance” different again from “capture”? Who coined the term “sousveillance”?
5) What is a cyborg? Why might you be a cyborg?
6) Relate one of the projects seen at the DA/NM MFA show (field trip 5/5) to two concepts from the second half of the quarter. To jog your memory, see http://danm.ucsc.edu/news_events/2011-mfa-exhibition (No need to describe the work in general terms. Using the artist’s name and work’s title in addition to relevant details will allow you to jump right into your answer.)
Part 2: Short essay (500-700 words) 25 points
It’s ok to get right to the meat of your essay—no need for introductions or conclusions, unless you feel it necessary.
Consider Jenkins’ framing of the “gendered play space.” Compare and contrast one play space seen in lecture (for example, America’s Army, Barbie & GI Joe, Portal) with one play space from your own life (might be one of above spaces, but also might be a game that wasn’t seen in lecture, like Halo or Pac Man, or a play space from your childhood that may not even involve a computer, for example having a tea party for dolls). Using Jenkins’ concept of “complete freedom of movement,” compare and contrast the two play spaces.