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15 Oct 09

Digital Culture Adventure

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Political remix video not criticize the way that mass media work, but it used them to send messages totally different from that which the media want to launch.
the usage of material that is already familiar to the public and has a certain amount of built in cultural meaning helps to create a more close relation with the public
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- Dennis G. Jez, a teacher from Pennsylvania

06 Oct 09

Wikipedia:Articles for deletion/Eastgate Systems - Wikipedia, the free encyclopedia

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Not sure why it was ever tagged for deletion instead of expansion; although the former clearly does have the effect of forcing folks to flesh out article, it's not worth the bad blood it creates

[WikiEN-l] Partial solution to rampant deletionism

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You're making the argument that since someday, some lonely person
> > might have enough freetime to waste typing in thousands and thousands
> > of entries in the manner of a robot, we have to delete any and every
> > article that's too trivial today.
relax and accomodate them

01 Oct 09

Confessions of an Aca/Fan: Archives: If It Doesn't Spread, It's Dead (Part Six): Spreadable Content

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What makes content worth spreading
As this circulation occurs, the original producer no longer is able to determine what a particular piece of content means because they are no longer able to control the context within which it is seen.
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- John Fiske (1989), draws a distinction between mass culture, that is culture which is mass produced and distributed, and popular culture, that is culture which has been meaningfully integrated into the everyday lives of consumers.

Confessions of an Aca/Fan: Archives: If It Doesn't Spread, It's Dead (Part One): Media Viruses and Memes

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Talking about memes and viral media places an emphasis on the replication of the original idea, which fails to consider the everyday reality of communication -- that ideas get transformed, repurposed, or distorted as they pass from hand to hand
those ideas which survive are those which can be most easily appropriated and reworked by a range of different communities
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- The metaphor of "infection" reduces consumers to the involuntary "hosts" of media viruses, while holding onto the idea that media producers can design "killer" texts which can ensure circulation by being injected directly into the cultural "bloodstream."
- No one knew for sure why any given message "turned viral," though there was lots of talk about "designing the DNA" of viral properties and being "organic" to the communities through which messages circulated
- Dawkins was looking for a way to explain cultural evolution, imagining it as a biological system
  - Actually, no: he was looking for a way of showing that the principles of natural selection are universal and that evolution could happen on other planets, say, using different building blocks than the DNA of our genes. - on 2009-10-01
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- explain everything
  - more than he really says... - on 2009-10-01
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- In this sense, then, it is somewhat hard to see how contained within this structure is a "message" waiting to occupy unsuspecting minds
  - I think actually that this is EXACTLY what Dawkins meant by a meme - that it is the structure, the "how to", rather than the exact artefact. He talks about celibacy, or the idea of hell being memes, for instance - and also how they can be implemented in different religions and in different ways. "Celibacy" isn't a final product after all, but could be adapted. - on 2009-10-01
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30 Sep 09

Is Wikipedia a Victim of Its Own Success? - TIME

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Wikipedia's natural resource is an emotion

21 Sep 09

Gisle Hannemyr: Lommejuss omkring digitale medier

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Bernkonvensjonen, som lyder:

Det er forbeholdt unionslandenes lovgivning å tillate
reproduksjon av de nevnte verk i visse spesielle tilfelle,
under forutsetning av at slik reproduksjon
ikke skader den normale utnyttelse av verket og
ikke på urimelig måte tilsidesetter opphavsmannens legitime interesser.
bruken av verket må være
lojal
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- Man kan
  gjerne være uenig og kritisere den man siterer, men å trekke setninger
  ut av sin sammenheng eller kontekst slik at meningsinnholdet i sitatet
  blir forvrengt er ikke en lojal måte å sitere på.
- oppgi kilde
- man skal aldri
  benytte et sitat for selv å slippe å skrive om et gitt
  saksforhold
- Siden
  det å skape en presis reproduksjon ikke er kreativt har ikke en slik
  reproduksjon
  verkshøyde.
- ikke nødvendigvis er tilfelle for fotografier
  av andre typer verk

Sitatrett - Wikipedia

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Sitatet må ikke være tatt ut av sin sammenheng, og særlig ved sitering av tekst kan man ikke nøye seg med helt korte utdrag slik at den fulle meningen ikke kommer frem
verkets karakter ikke må «forandres eller forringes». Siteringen må således som utgangspunkt være en uforandret gjengivelse
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- gjengi verket på en måte som er krenkende for verkets anseelse eller egenart

What is an Author? - Mark Tribe - Brown University Wiki

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privileged moment of individualization
I want to deal solely with the relationship between text and author and with the manner in which the text points to this 'figure' that at least in appearance, is outside it and antecedes it
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- Referring only to itself
- it is an interplay of signs arranged less according to its signified content than according to the very nature of the signifier
- creating a space into which the writing subject constantly disappears
- the writing subject cancels out the signs of his particular individuality
- the mark of the writer is reduced to nothing more than the singularity of his absence
- The first is the idea of the work
- analyze the work through its structure, its architecture, its intrinsic form, and the play of its internal relationships
- What is a work?
- The word work and the unity that it designates are probably as problematic as the status of the author's individuality.
- the notion of writing (écriture)
- In current usage, however, the notion of writing seems to transpose the empirical characteristics of the author into a transcendental anonymity.
- we must locate the space left empty by the author's disappearance, follow the distribution of gaps and breaches, and watch for the openings that this disappearance uncovers.
- What is an author's name? How does it function?
- The author's name is a proper name,
- one cannot turn a proper name into a pure and simple reference. It has other than indicative functions: more than an indication, a gesture, a finger pointed at someone, it is the equivalent of a description
- If I discover that Shakespeare was not born in the house that we visit today, this is a modification which, obviously, will not alter the functioning of the author's name. But if we proved that Shakespeare did not write those sonnets which pass for his, that would constitute a significant change and affect the manner in which the author's name functions
- The author's name is not, therefore, just a proper name like the rest.
- The author's name manifests the appearance of a certain discursive set and indicates the status of this discourse within a society and a culture.
- in a civilization like our own there are a certain number of discourses that are endowed with the 'author function:' while others are deprived of it. A private letter may well have a signer- it does not have an author; a contract may well have a guarantor - it does not have an author. An anonymous text posted on a wall probably has a writer - but not an author. The author function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.
- In our culture, how does one characterize a discourse containing the author function?
- four different characteristics.
- First of all, discourses are objects of appropriation.
- authors became subject to punishment
- discourse was not originally a product, a thing, a kind of goods; it was essentially an act
- The author function does not affect all discourses in a universal and constant way, however. This is its second characteristic
- it has not always been the same types of texts which have required attribution to an author
- There was a time when the texts that we today call 'literary' (narratives, stories, epics, tragedies, comedies) were accepted, put into circulation, and valorized without any question about the identity of their author; their anonymity caused no difficulties since their ancientness, whether real or imagined, was regarded as a sufficient guarantee of their status
- Scientific discourses began to be received for themselves, in the anonymity of an established or always re-demonstrable truth; their membership in a systematic ensemble, and not the reference to the individual who produced them, stood as their guarantee
- literary discourses came to be accepted only when endowed with the author function
- literary anonymity is not tolerable
- The third characteristic of this author function is that it does not develop spontaneously as the attribution of a discourse to an individual.
- It is, rather, the result of a complex operation which constructs a certain rational being that we call 'author'.
- directly derived from the manner in which Christian tradition authenticated (or rejected) the texts at its disposal
- trying to prove the value of a text by its author's saintliness
- the author is therefore defined as a constant level of value
- the author is thus defined as a field of conceptual or theoretical coherence
- the author is here conceived as a stylistic unity
- the author is here seen as a historical figure at the crossroads of a certain number of events)
- The author is also the principle of a certain unity of writing
- The author also serves to neutralize the contradictions that may emerge in a series of texts
- signs referring to the author. These signs, well known to grammarians, are personal pronouns, adverbs of time and place, and verb conjugation. Such elements do not play the same role in discourses provided with the author function as in those lacking it
- Everyone knows that, in a novel narrated in the first person, neither the first-person pronoun nor the present indicative refers exactly either to the writer or to the moment in which he writes, but rather to an alter ego whose distance from the author varies, often changing in the course of the work. It would be just as wrong to equate the author with the real writer as to equate him with the fictitious speaker; the author function is carried out and operates in the scission itself, in this division and this distance.
- all discourses endowed with the author function do possess this plurality of self.
- (1) the author function is linked to the juridical and institutional system that compasses, determines, and articulates the universe of discourses; (2) it does not affect all discourses in the same way at all times and in all types of civilization; (3) it is not defined by the spontaneous attribution of a discourse to its producer, but rather by a series of specific and complex operations; (4) it does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects - positions that can be occupied by different classes of individuals.
- in the sphere of discourse one can be the author of much more than a book - one can be the author of a theory, tradition, or discipline in which other books and authors will in their turn find a place
- transdiscursive
- 'founders of discursivity
- They have produced something else: the possibilities and the rules for the formation of other texts.
- First, there are theoretical reasons. On the one hand, an analysis in the direction that I have outlined might provide for an approach to a typology of discourse.
- The relationship (or non-relationship) with an author and the different forms this relationship takes, constitute - in a quite visible manner - one of these discursive properties.
- an introduction to the historical analysis of discourse
- modes existence
- re-examine the privileges of the subject
- Second, there are reasons dealing with the 'ideological' status of the author
- How can one reduce the great peril, the great danger with which fiction threatens our world? The answer is: one can reduce it with the author. The author allows a limitation of the cancerous and dangerous proliferation of significations within a world where one is thrifty not only with one's resources and riches, but also with one's discourses and their significations. The author is the principle of thrift in the proliferation of meaning.
  - I love this quote - and think it's very relevant to today's digital culture. Think of all the hoaxes and fakes on the internet, and the anger when fans of a blogger or YouTuber find out that he or she was fictional. This is proof of the way we still cling to the author function despite its being in the process of falling apart. - on 2009-09-21
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- the author is not an indefinite source of significations which fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and re-composition of fiction
- It would be pure romanticism, however, to imagine a culture in which the fictive would operate in an absolutely free state, in which fiction would be put at the disposal of everyone and would develop without passing through something like a necessary or constraining figure
  - Is this today's culture? Probably not: there are usually other forces that limit meaning - and often authorship is still such a function. - on 2009-09-21
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- I think that, as our society changes, at the very moment when it is in the process of changing, the author function will disappear, and in such a manner that fiction and its polysemous texts will once again function according to another mode, but still with a system of constraint -one which will no longer be the author, but which will have to be determined or, perhaps, experienced.
- We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse?
  - We still ask these questions... But perhaps not of all internet discourses. Of blogs and YouTubers, yes. Of remixes? Maybe not? - on 2009-09-21
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- What are the modes of existence this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference: What difference does it make who is speaking?

17 Sep 09

...i WaNt To HoLd YoUr HaNd...: My opinions on the text of Benjamin Walter

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They are not trying to reproduce reality but they try to remember the experience and the feelings that arise in certain situations. And this is not a contemporary decay of the aura, but rather an attempt to bring it to life in time.
Could happen that the actor, after many years of study, come to have two auras, one of himself and the other one of the character he plays. The first one does not interfere with the second one but rather complement each other creating a complex character.

14 Sep 09

Genius (literature) - Wikipedia, the free encyclopedia

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genius as superior to skill, as being far above ability

Schyzophonia. On Remix, Hybridization and Fluidity « OPEN REFLECTIONS

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the new remix culture can be seen and defined as a never ending story, in which (digital) culture is becoming fluid, amendable and liquid
this remix culture can be seen in the production of knowledge itself: knowledge can even be defined as a remix of different types of information into a meaningful context
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- The remix engineer can be viewed as an artist distinct from the original musician(s), no longer a collaborator, as Kealy suggested, but an independent creative force.”
- emixing is recoding
- The remix recording creates a new artifact from the schemata of previously recorded music. It is prima facie evidence of Benjamin’s contention that to “an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility.”

The Work of Art in the Age of Mechanical Reproduction - By Walter Benjamin, 1935. - The Art History Archive

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one could
expect it not only to exploit the proletariat with increasing intensity, but
ultimately to create conditions which would make it possible to abolish
capitalism itself
one could
expect it not only to exploit the proletariat with increasing intensity, but
ultimately to create conditions which would make it possible to abolish
capitalism itself
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- one could
  expect it not only to exploit the proletariat with increasing intensity, but
  ultimately to create conditions which would make it possible to abolish
  capitalism itself
- one could
  expect it not only to exploit the proletariat with increasing intensity, but
  ultimately to create conditions which would make it possible to abolish
  capitalism itself.
- creativity and
  genius, eternal value and mystery -- concepts whose uncontrolled (and at
  present almost uncontrollable) application would lead to a processing of data
  in the Fascist sense
- In principle a work of art has always been reproducible
- Mechanical reproduction of a
  work of art, however, represents something new.
- photography freed the hand of the most
  important artistic functions which henceforth devolved only upon the eye
  looking into a lens
- we
  shall be supplied with visual or auditory images, which will appear and
  disappear at a simple movement of the hand, hardly more than a
  sign.
- the nature of the repercussions
  that these two different manifestations -- the reproduction of works of art
  and the art of the film -- have had on art in its traditional for
- Even the most perfect reproduction of a work of art is lacking
  in one element: its presence in time and space, its unique existence at the
  place where it happens to be.
- The presence of the original is the prerequisite to the concept of
  authenticity
- forgery
- the quality of its presence
  is always depreciated
- In the case of the art object, a most sensitive nucleus -- namely, its
  authenticity -- is interfered with whereas no natural object is vulnerable on
  that score
- The authenticity of a thing is the essence of all that is
  transmissible from its beginning, ranging from its substantive duration to its
  testimony to the history which it has experienced. Since the historical
  testimony rests on the authenticity, the former, too, is jeopardized by
  reproduction when substantive duration ceases to matter. And what is really
  jeopardized when the historical testimony is affected is the authority of the
  object.
- that which withers in the age of mechanical reproduction is the aura of
  the work of art
- subsume the eliminated element in the term 'aura'
- the aura of natural
  ones
- contemporary
  decay of the aura
- Uniqueness and
  permanence are as closely linked in the latter as are transitoriness and
  reproducibility in the former
- imbedded in the fabric of tradition
- the existence of the work of art with
  reference to its aura is never entirely separated from its ritual function
- its original use value
- With the advent of the first truly revolutionary means of reproduction,
  photography, simultaneously with the rise of socialism, art sensed the
  approaching crisis which has become evident a century later. At the time, art
  reacted with the doctrine ofl'art pour l'art, that is, with a theology of art.
  This gave rise to what might be called a negative theology in the form of the
  idea of 'pure' art, which not only denied any social function of art but also
  any categorizing by subject matter.
- the
  work of art reproduced becomes the work of art designed for reproducibility
- to ask for the 'authentic' print makes no sense
- cult value
- exhibition value
- easier to
  exhibit a portrait bust that can be sent here and there than to exhibit the
  statue of a divinity that has its fixed place in the interior of a temple
- The
  same holds for the painting as against the mosaic or fresco that preceded it
- Only later did it come to be recognized as a work of
  art
- cult value does not give way without resistance. It
  retires into an ultimate retrenchment: the human countenance
- The cult
  of remembrance of loved ones, absent or dead, offers a last refuse for the
  cult value of the picture
- Do not all the bold descriptions we have given
  amount to the definition of prayer?
- It is instructive to note how
  their desire to class the film among the 'arts' forces these theoreticians to
  read ritual elements into it -- with a striking lack of discretion
- the film actor lacks the
  opportunity of the stage actor to adjust to the audience during his
  performance, since he does not present his performance to the audience in
  person
- aura
  is tied to his presence; there can be no replica of it. The aura which, on the
  stage, emanates from Macbeth, cannot be separated for the spectators from that
  of the actor. However, the singularity of the shot in the studio is that the
  camera is substituted for the public. Consequently, the aura that envelops the
  actor vanishes, and with it the aura of the figure he portrays.
- art has left the realm of the
  'beautiful semblance'
- the consumers who constitute the market. This market, where he offers
  not only his labor but also his whole self, his heart and soul, is beyond his
  reach. During the shooting he has as little contact with it as any article
  made in a factory.
- The film
  responds to the shriveling of the aura with an artificial build-up of the
  'personality' outside the studio
- The cult of the movie star, fostered by the
  money of the film industry, preserves not the unique aura of the person but
  the 'spell of the personality,' the phony spell of a commodity
- the newsreel offers
  everyone the opportunity to rise from passer-by to movie extra
- For centuries a small number of writers were confronted by many thousands
  of readers. This changed toward the end of the last century. With the
  increasing extension of the press, which kept placing new political,
  religious, scientific, professional, and local organs before the readers, an
  increasing number of readers became writers -- at first, occasional ones. It
  began with the daily press opening to its readers space for 'letters to the
  editor.' And today there is hardly a gainfully employed European who could
  not, in principle, find an opportunity to publish somewhere or other comments
  on his work, grievances, documentary reports, or that sort of thing. Thus, the
  distinction between author and public is about to lose its basic character.
  The difference becomes merely functional; it may vary from case to case. At
  any moment the reader is ready to turn into a writer.
- The greater the decrease in the social significance of an art
  form, the sharper the distinction between criticism and enjoyment by the
  public
- The simultaneous contemplation
  of paintings by a large public, such as developed in the nineteenth century,
  is an early symptom of the crisis of painting, a crisis which was by no means
  occasioned exclusively by photography but rather in a relatively independent
  manner by the appeal of art works to the masses.
- Painting simply is in no position to present an object for simultaneous
  collective experience, as it was possible for architecture at all times, for
  the epic poem in the past, and for the movie today.
- painting, under
  special conditions and, as it were, against its nature, is confronted directly
  by the masses.
- graduated and
  hierarchized mediation
- Thus the same public which responds
  in a progressive manner toward a grotesque film is bound to respond in a
  reactionary manner to surrealism.
- The history of every
  art form shows critical epochs in which a certain art form aspires to effects
  which could be fully obtained only with a changed technical standard, that is
  to say, in a new art form.
- One of the foremost tasks of art has always been the creation
  of a demand which could be fully satisfied only later.
- Dadaism attempted to create by pictorial -- and literary -- means the effects
  which the public today seeks in the film.
- What they intended and achieved was a relentless
  destruction of the aura of their creations, which they branded as
  reproductions with the very means of production
- painting of Arp
- ancient lament that the masses seek distraction whereas art
  demands concentration from the spectator. That is a commonplace
- Distraction and concentration form polar
  opposites which may be stated as follows: A man who concentrates before a work
  of art is absorbed by it
- In contrast, the
  distracted mass absorbs the work of art.
- Architecture has always represented the prototype of a work of art
  the reception of which is consummated by a collectivity in a state of
  distraction.
- Buildings are appropriated in a twofold manner: by use and by perception -- or
  rather, by touch and sight
- attentive concentration of a tourist before a famous building
- Tactile appropriation is accomplished not so much by attention as by habit.
- For the tasks which face the human apparatus of perception at
  the turning points of history cannot be solved by optical means, that is, by
  contemplation, alone. They are mastered gradually by habit, under the guidance
  of tactile appropriation.
- art will tackle the
  most difficult and most important ones where it is able to mobilize the
  masses. Today it does so in the film
- Reception in a state of distraction,
  which is increasing noticeably in all fields of art and is symptomatic of
  profound changes in apperception, finds in the film its true .means of
  exercise.
- The film makes the cult value recede into the background not only by putting
  the public in the position of the critic, but also by the fact that at the
  movies this position requires no attention. The public is an examiner, but an
  absent-minded one.

11 Sep 09

Forskerprosjekt - Norges forskningsråd

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ny kunnskap om relevante problemstillinger i samfunnet
personalkostnader, ett eller flere stipend, kjøp av FoU-tjenester, nettverkstiltak, dokumenterte driftsutgifter i et visst omfang og mindre utstyrsenheter
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- maks 10 sider inkludert referanseliste
- navngitte doktorgrads- og studentstipendsøkere
- faglig fornyelse og/eller utvikling av ny kunnskap
- målformuleringene er konkrete og etterprøvbare
- problemstillinger og hypoteser er klare

Finn utlysninger - Norges forskningsråd

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kulturelle utfordringer og muligheter
grunnforskning
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- Sosiale nettverk

10 Sep 09

remix aesthetics, a short primer on taxonomies of re-intrepreted musics

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lev manovich

26 Aug 09

Steinars blogg - Stormberg | Klimaspørsmålet til partilederne

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Veldig konkret "bruksansvisning" på hvordan vanlige folk kan få direkte svar fra politikerne. Skjønt er Steinar Olsen "vanlige folk"? Han har vært med i lokalpolitikken i en årrekke, så det kan tenkes partilederne gjenkjenner ham. Han har mange følgere på Twitter, usikker på hvor populær bloggen hans er - 1500 mest populære nettstedet i Norge sier Alexa, men hva betyr egentlig det? - jilltxt on 2009-08-26

Jeg har sendt spørsmålet på Twitter til den enkelte partileder. De oppfordres til å skrive svaret i kommentarfeltet på denne bloggposten, og på den måten gi grunnlag for en debatt.

21 Aug 09

Discussion: Sosiale medier | LinkedIn

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NextGenTel som overvåker bl.a. twitter. Ser ut som hver gang noen jeg følger sier **** bredbånd, **** mobil, *** pokkers NexGenTel - er de på banen, ringer kunden opp og løser prbleet, tilbyr en løsning o.a. FØR den negative omtalen får bre seg. Det er lurt.
du tar ikke med deg en stor reklameplakat når du går på besøk til venner?
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- Sjekk ut hva Peppes Pizza gjør på Facebook
- Nye kunder? Pleie kunder? Promotere produkter og tjenester?
- før dere i det hele tatt begynner å delta, er å lytte - gjerne ved hjelp av en "social media tracker", eller ved hjelp av de gratisverktøy som finnes. Det gir en god indikasjon på den "liking" DnbNor faktisk har, for ikke å snakke om potensiell "reach".
- Buzzanalyse
- la medarbeidere som har engasjement på sine fagområder få lov til å gå i dialog på vegne av seg selv og virksomheten
- God dialog med aktører som mener noe gir troverdighet og god effekt.
- har mashable plukket ut 10 bedrifter de synes utnytter sosiale medier best:
  
  http://mashable.com/2009/02/06/social-media-smartest-brands/
- Dell sitt case kan være godt ift DnB NOR fordi de viser hvordan de bygger omdømme på tvers av de fleste sosiale medier. Dell ble tidlig nødt til å gjøre store investeringer i sosiale medier fordi de fikk et ekstremt dårlig omdømme (DellHell) på nett som de ikke klarte å imøtekomm
- SM kan brukes aktivt når det kommer til intern kommunikasjon/ intern markedsføring
- Fornøyde ansatte har større positiv invirkning på kundene enn mang et MF stunt
- Sosiale medier handler mer om å la kundene/brukerne slippe til ovenfor oss enn om hvordan vi kan slippe til ovenfor dem.

20 Aug 09

What is Digital Culture? | Chris Pirillo

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people my age, however, who don’t use mobile devices or even the Internet
- How many? - on 2009-08-20
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now living in a digital age - the age of information