Plastic Fossils: Concepts of Deep Time and Enchantment in The Age of Social Media

我的研究的第一部分将通过借鉴艺术和广告相关领域的研究来探索魔法、环境激进主义和人类世之间的关系(简·班尼特)。我将借鉴艾伦·麦克弗森、马克·A·施奈德和简·班尼特的研究成果，认为探索深层时间和生态的概念，比如蒂莫西·莫顿的《网格》，具有令人着迷的力量，因为它们‘让我们接触到一些既真实又神秘、诡异、神秘和可怕的东西’。[1]我的研究的第二部分将仔细阅读环境激进主义及其社交媒体元素，以确定网络和现实世界的活动如何结合在一起，帮助将这种新思维推向前台--探索四个主题--再生、参与、时间的分层和对深层时间的意识。我还将谈到艺术和社交媒体激进主义的变革性。我的研究的第三部分将为社交媒体理论和研究推荐一种新的模式，该模式基于艾伦·麦克弗森的两个艺术魅力领域的改编，增加了第三个沟通领域。这将为社交媒体理论和研究提供新的思维领域，从而创造新的知识。

The first part of my research will explore a relationship between enchantment, environmental activism and the Anthropocene by drawing upon research in this area related to the arts and advertising (Jane Bennett). I will draw upon the work of Alan Macpherson, Mark A. Schneider and Jane Bennett to argue that concepts that explore deep time and ecology like Timothy Morton's 'mesh' have the power to enchant because they 'expose us to something both real and at the same time uncanny, weird, mysterious and awesome'.[1] The second part of my research will conduct a close reading of environmental activism and its social media elements to identify how online and real world activity combine to help to bring this new thinking to the forefront - exploring four themes - regeneration, participation, layering of temporalities and awareness of deep time. I will also touch upon the transformative nature of the arts and social media activism. The third part of my research will recommend a new model for social media theory and research based on an adaptation of Alan Macpherson's two spheres of enchantment for the arts, adding a third sphere of communication. This will create new knowledge by suggesting new areas of though for social media theory and research.