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

我的研究的第一部分将探索魅力，环境行动主义和人类世之间的关系，通过借鉴在这一领域的研究与艺术和广告（简班尼特）。我将借鉴艾伦·麦克弗森（Alan Macpherson）的著作，马克·A.施耐德和简·班尼特认为，像蒂莫西·莫顿的“网格”这样探索深层时间和生态的概念具有迷人的力量，因为它们“让我们接触到真实的东西，同时又不可思议、怪异、神秘和令人敬畏”。[1]我的研究的第二部分将对环境行动主义及其社交媒体元素进行仔细的阅读，以确定在线和真实的世界活动如何结合联合收割机，以帮助将这种新思维带到最前沿-探索四个主题-再生，参与，时间的分层和深层时间的意识。我还将触及艺术和社交媒体行动主义的变革性质。我的研究的第三部分将推荐一种新的社交媒体理论和研究模式，该模式基于艾伦·麦克弗森（Alan Macpherson）对艺术魅力的两个领域的改编，并增加了第三个交流领域。这将通过为社交媒体理论和研究提出新的领域来创造新的知识。

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.