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Nele Noppe

FLOSSpols: Free/Libre/Open Source Software: Policy Support - 0 views

www.flosspols.org

gender open_source

shared by Nele Noppe on 28 Nov 10 - Cached
  • Nele Noppe on 28 Nov 10
     

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    Free/Libre/Open Source Software: Policy Support

    [2006-04-26] New deliverables:
    D16 - Gender: Integrated Report of Findings
    D17 - Gender: Policy Recommendations
Nele Noppe

Standing out in the crowd: my OSCON keynote | Infotropism - 0 views

infotrope.net/...-in-the-crowd-my-oscon-keynote

open_source gender feminism

shared by Nele Noppe on 25 Nov 10 - Cached

  • In 2006, the FLOSSPOLS survey (a broad survey of open source usage and development, funded by the EU) found that only 1.5% of open source contributors are women.

Nele Noppe

Ada Lovelace Day: Two ground-breaking open source projects | Infotropism - 0 views

infotrope.net/...-breaking-open-source-projects

open_source gender internet feminism

shared by Nele Noppe on 25 Nov 10 - Cached

  • Some open source projects, like Ubuntu and Drupal, are known as more women-friendly environments. Ubuntu’s code of conduct, for instance, set expectations about appropriate behaviour and help foster an environment where women feel more welcome and less threatened. DrupalChix say that Drupal has 10% women on the project, thanks to the supportive environment that group helps create.

    But to the best of my knowledge, there are only two open source projects in the world which a) have a significant number of developers, and b) are majority female. They are An Archive Of Our Own (a project of the Organization for Transformative Works) and Dreamwidth.

  • Though I’m loath to draw sweeping conclusions from these two projects, I do see commonalities that might help answer the eternal question of “How do we get more women into Open Source?”

    • Start with women from day one, in leadership and other roles.
    • Stand for something that women actually care about, and don’t be afraid to state it up front and loudly.
    • Make efforts to recruit women regardless of technical experience.
    • Recruit from existing, active, creative communities who know how to communicate and collaborate online.
    • Offer training, peer support, and activities to teach coding from the ground up.
Nele Noppe

Open Source Open World - 0 views

www.focus.com/...open-source-open-world

open_source open_work

shared by Nele Noppe on 24 Nov 10 - Cached
  • Nele Noppe on 24 Nov 10
     
    Does not include cultural goods!
Nele Noppe

Gift economy - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Gift_economy

gift_economy law open_source

shared by Nele Noppe on 24 Nov 10 - No Cached
  • Information is particularly suited to gift economies, as information is a nonrival good and can be gifted at practically no cost.[18][19]
  • Traditional scientific research can be thought of as an information gift economy. Scientists produce research papers and give them away through journals and conferences.
  • In his essay "Homesteading the Noosphere", noted computer programmer Eric S. Raymond opined that open-source software developers have created "a 'gift culture' in which participants compete for prestige by giving time, energy, and creativity away".[22]
  • ...3 more annotations...

  • According to Lewis Hyde, a traditional gift economy is based on "the obligation to give, the obligation to accept, and the obligation to reciprocate," and that it is "at once economic, juridical, moral, aesthetic, religious, and mythological."[25] He describes the spirit of a gift economy (and its contrast to a market economy) as:[26]

    The opposite of "Indian giver" would be something like "white man keeper"... [W]hatever we have been given is supposed to be given away not kept. Or, if it is kept, something of similar value should move in its stead... [T]he gift may be given back to its original donor, but this is not essential... The only essential is this: the gift must always move.
  • Sociologist Marcel Mauss argues a different position, that gifts entail obligation and are never 'free'. According to Mauss, while it is easy to romanticize a gift economy, humans do not always wish to be enmeshed in a web of obligation.
  • We like to be able to go to the corner store, buy a can of soup, and not have to let the store clerk into our affairs or vice versa. We like to travel on an airplane without worrying about whether we would personally get along with the pilot. A gift creates a "feeling bond." Commodity exchange does not.[34]
Nele Noppe

Open source - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Open_source

openness open_source

shared by Nele Noppe on 23 Nov 10 - Cached
  • Open source describes practices in production and development that promote access to the end product's source materials. Some consider open source a philosophy, others consider it a pragmatic methodology.
  • The open source model includes the concept of concurrent yet different agendas and differing approaches in production, in contrast with more centralized models of development such as those typically used in commercial software companies
  • peer production by bartering and collaboration, with the end-product, source-material, "blueprints" and documentation available at no cost to the public.
  • ...29 more annotations...
  • Most economists agree that open source candidates have an information good[12] (also termed 'knowledge good') aspect. In general, this suggests that the original work involves a great deal of time, money, and effort.
  • Others argue that society loses through open sourced goods. Because there is a loss in monetary incentive to the creation of new goods, some argue that new products will not be created. This argument seems to apply particularly well to the business model where extensive research and development is done, e.g. pharmaceuticals. However, this argument ignores the fact that cost reduction for all concerned is perhaps an even better monetary incentive than is a price increase. In addition, others argue that visual art and other works of authorship should be free. These proponents of extensive open source ideals argue that monetary incentive for artists would perhaps better be derived from performances or exhibitions, in a similar fashion to the funding of provision of other types of services.
  • Many fields of study and social and political views have been affected by the growth of the concept of open source.
  • Advocates in one field often support the expansion of open source in other fields. For example, Linus Torvalds said, "the future is open source everything."[14]
  • The difference between crowdsourcing and open source is that open source production is a cooperative activity initiated and voluntarily undertaken by members of the public
  • Open source hardware is hardware whose initial specification, usually in a software format, are published and made available to the public, enabling anyone to copy, modify and redistribute the hardware and source code without paying royalties or fees.
  • Beverages
  • Open-content projects organized by the Wikimedia Foundation — Sites such as Wikipedia and Wiktionary have embraced the open-content GFDL and Creative Commons content licenses.
  • Digital content
  • Health and science

  • Medicine

  • Science

  • Other

    • Open source principles can be applied to technical areas such as digital communication protocols and data storage formats.
    • Open design — which involves applying open source methodologies to the design of artifacts and systems in the physical world.
  • There are few examples of business information (methodologies, advice, guidance, practices) using the open source model, although this is another case where the potential is enormous. ITIL is close to open source. It uses the Cathedral model (no mechanism exists for user contribution) and the content must be bought for a fee that is small by business consulting standards (hundreds of British pounds). Various checklists are published by government, banks or accounting firms. Possibly the only example of free, bazaar-model open source business information is Core Practice.
  • Open source culture is the creative practice of appropriation and free sharing of found and created content. Examples include collage, found footage film, music, and appropriation art. Open source culture is one in which fixations, works entitled to copyright protection, are made generally available. Participants in the culture can modify those products and redistribute them back into the community or other organizations.
  • The rise of open-source culture in the 20th century resulted from a growing tension between creative practices that involve appropriation, and therefore require access to content that is often copyrighted, and increasingly restrictive intellectual property laws and policies governing access to copyrighted content.
  • The idea of an "open source" culture runs parallel to "Free Culture," but is substantively different. Free culture is a term derived from the free software movement, and in contrast to that vision of culture, proponents of Open Source Culture (OSC) maintain that some intellectual property law needs to exist to protect cultural producers. Yet they propose a more nuanced position than corporations have traditionally sought. Instead of seeing intellectual property law as an expression of instrumental rules intended to uphold either natural rights or desirable outcomes, an argument for OSC takes into account diverse goods (as in "the Good life") and ends.
  • One way of achieving the goal of making the fixations of cultural work generally available is to maximally utilize technology and digital media. I

  • Government

  • Ethics

    Open Source ethics

  • Ess famously even defined the AoIR Research Guidelines as an example of open source ethics.[38]

  • Media

    Open source journalism

  • Open source movie production is either an open call system in which a changing crew and cast collaborate in movie production, a system in which the end result is made available for re-use by others or in which exclusively open source products are used in the productio
  • OpenDocument is an open document file forma

  • Education

    Within the academic community, there is discussion about expanding what could be called the "intellectual commons" (analogous to the Creative Commons). Proponents of this view have hailed the Connexions Project at Rice University, OpenCourseWare project at MIT, Eugene Thacker's article on "Open Source DNA", the "Open Source Cultural Database" and Wikipedia as examples of applying open source outside the realm of computer software.

    Open source curricula are i

  • stead of keeping all such knowledge proprietary. One of the recent initiatives in scientific publishing has been open access — the idea that research should be published in such a way that it is free and available to the public.
  • Open innovation is
  • also a new emerging concept which advocate putting R&D in a common pool.

  • Arts and recreation

    Copyright protection is used in the performing arts and even in athletic activities. Some groups have attempted to remove copyright from such practices.[45]

Nele Noppe

The right of making available - 0 views

rivkat.livejournal.com/189290.html

fans open_source feminism discrimination law cultural_policy phd

shared by Nele Noppe on 17 Apr 10 - Cached
  • The concept of open source, as with intellectual property generally, is based on the fact that my possession of a copy of a program doesn't interfere with your possession of a copy of the same program.
  • The general term for that is "nonrivalrous,"
  • Who is supposed to be doing the open sourcing here? For those of us who aren't Cylons, there aren't many copies. Bodies are rivalrous
  • ...1 more annotation...
  • Open source is a great idea, but it's always important to ask who's supposed to be providing the free stuff. As I've said elsewhere, when you start to compare fields that get intellectual property protection (software, sculpture) with fields that don’t (fashion, cooking, sewing), it becomes uncomfortably obvious that our cultural policy has expected women’s endeavors to generate surplus creativity but has assumed that men’s endeavors require compensation,
Nele Noppe

Creativity in amateur multimedia: Popular culture, critical theory, and HCI - 0 views

74.125.155.132/scholar

amateur_professional fans internet presentation_cwwc creativity open_source theory HCI openness machinima games technology authors communal medium technological_determinism visual_language phd

shared by Nele Noppe on 23 Feb 10 - Cached
  • Today, especially in academic circles, this pop
    culture phenomenon is little recognized and even less understood.
  • These analyses reveal relationships among emerging amateur multimedia aesthetics,
    common software authoring tools, and the three theorizations of creativity discussed
    • Nele Noppe
      Nele Noppe on 23 Feb 10
       
      VERBAND FANWERK - OPEN SOURCE
  • This paper explores the enabling factors, especially the role of multimedia authoring
    tools, in the recent explosion of amateur multimedia.
  • ...23 more annotations...
  • Yet control over popular culture by mass
    media is clearly eroding
  • HCI practitioners have explored how software interfaces can enhance and support users in
    general and creativity in particular. Its analytical tools for examining the relationships between
    tools and a concrete group of users vis-à-vis a well-defined explication of tasks both solve and
    create problems. The ability to specify these relationships explicitly greatly facilitates the
    design of systems; yet that same explicit specificity also defines creativity a priori in cybernetic
    terms more friendly to computers than to the culturally diverse and rich practice of creativity
  • Critical theory—an umbrella term that encompasses literary theory, continental
    philosophy, and communication theory, among others—offers sophisticated theoretical
    resources for the study of cultural artifacts and their use in the communities that create them.
    Many of these theories ground themselves in the materiality of the cultural artifacts they
    study; yet the material layer for which these theories were once developed were largely
    textual. The movement of cultural artifacts from the physical to digital poses a deep challenge
    (and some risk) for critics studying digital media with these theories
  • this paper investigates three relevant traditions of theory that address these overlaps: HCI,
    poststructuralism, and theories of technological determinism, especially in media.
  • Creativity—its nature, conditions of possibility, inputs and outputs, and processes—plays a
    major role in virtually all academic, professional, and artistic domains. As a result, it is
    heavily, and heterogeneously, theorized.
  • Genealogically, HCI developed alongside cognitive science and computer science, and was
    most often put in service of professional productivity software.
  • HCI often characterizes creativity in rationalistic, intentional, and scientific ways. For
    example, Schneiderman (2002, 2003) proposes a creativity framework for, in his words,
    “generating excellence” with four parts: collect, relate, create, and donate. With it, he hopes
    to capture the social, iterative, associational, and distributional characteristics of creativity,
    especially as described by cognitive science. Evident in this perspective is an effort to model
    creativity, which is seen as a social activity, with certain structural features that take place in
    environments conducive to creativity.
  • All of this is in service of what Schneiderman calls
    “evolutionary creativity,” which he illustrates as follows:“doctors making cancer diagnoses,
    lawyers preparing briefs, or photo editors producing magazine stories”(2002, p. 238). Here,
    Page 17
    Creativity in Amateur Multimedia
    15
    and pervasive throughout the essay, Schneiderman’s notion of creativity appears to be
    paraphrasable as professional innovation: His interest is not artistic self-expression and, as we
    shall see, he is not alone in understanding creativity in terms of professional discourses
  • Again, creativity is understood as it relates to professional discourses,
    in this case the discourse of art history and its pedagogical presentation to museum-goers.
    Even analyses of group creativity in HCI contexts that seek to go beyond rationalist-
    individualist notions of creativity nonetheless operate in a rationalist mode.
  • The notion of creativity that emerges from these mainstream HCI essays places its
    agency primarily in the intentional activity of the individual (though the individual is
    presumably a member of relevant groups). It sees the ecology of creativity as a community of
    expert practice comprising research, dialogue, and artifact exchange, facilitated by social and
    computer environments that forgivingly compel an iterative and basically scientific
    (correctness, discrete information, classification, hypothesis) approach toward truth.
  • The role of the author-function is, among other things, to control the polyvalence
    intrinsic to texts, such that the author, rather than performing the creative role of bringing the
    text into the world, performs the role of constraining the meaning of the text within a society.
  • (Foucault, 1969/2000, p. 206). Therefore, writing is a
    destabilizing force that threatens to transform the discourse in which it operates and to swallow
    up its own author. It is important to remember that Foucault is not limiting his analysis to
    literary texts; he explicitly includes scientific and academic writing,
  • In this conceptualization of writing, creativity occurs at the level of discursive rule-
    transgressing. The role of the historical human in this process is greatly diminished, not
    because humans are not involved in textual production, but because the individual is at the
    wrong level of granularity for analysis. A given historical individual authoring discourse does
    so within complex interactions involving several selves and the clash of languages
  • Related, but not identical, to Foucault’s notion of authorship are theories of
    “intertextuality” put forward by Julia Kristeva and Roland Barthes. Intertextuality is the notion
    Page 19
    Creativity in Amateur Multimedia
    17
    that a text is a “tissue” of (mis) quotations from other texts, considered to be more than mere
    collages, but transformative, of the sign systems from which they are derived (McAfee, 2004)
  • Creativity’s agency lies in the juxtaposition of sign systems (in which authorial
    identities are implicated), which occurs in the context of play, and results in artifacts that are
    significant not for what they say, but for the ways they materially contribute to the generative
    capacity of the discursive rule-set from which they operate.
  • Perhaps the foremost theorist of technological determinism is Jacques Ellul (1964/2003,
    1980/2003), who argues that individuals, science, and government are all “conditioned” by
    technology.
  • Like Schneiderman
    (2002, 2003) and Foucault (1969/2000), Ellul (1964/2003, 1980/2003), too, is making claims
    about the origins and generation of knowledge in scientific discourses, but he situates the
    agency in the fierce pressures of technology as it overwhelms and often replaces the
    comparatively meek procedures of science and governance
  • As a result, according to
    Benjamin, our cognitive experience of the art also changes; whereas painting allows spectators
    to control their own stream of consciousness and reflect on what they see, cinema’s moving
    images disrupt association and contemplation, dominating viewers’ thoughts.
  • Benjamin’s (1936/1968) arguments are developed further by self-described technological
    determinist Marshall McLuhan, whose claim that “the medium is the message”(1964/2003)
    characterizes media as “extensions of ourselves” that “alter sense ratios or patterns of
    perception steadily and without any resistance”(p. 31).
  • For Manovich, the emergence of new visual languages is enabled not by an iterative, rational
    approach to innovation, as cognitive science might suggest; neither does it emerge from an
    evolutionary history of discursive transgression, as a poststructuralist approach might
    suggest 10. Rather, it is made possible by certain forms of productive convenience built into
    authoring tools that unleash visual languages and cultural logics that exceed any human
    intention, whether at the level of the individual or the group of experts.
  • To answer this question, it is useful to consider what the three traditions share in
    common. All consider creativity in the context of professionalism and knowledge production.
    Creativity is not simply about painting a pretty new picture or expressing a personal emotion;
    it contributes to discourses about the world and our place in it. All three traditions also
    understand creativity as situated within systems—networks of software-supported experts,
    discursive sign systems, or systems of production and consumption. All of these implicitly
    reject romantic notions of the individual creative genius and pure self-expression; implied in
    this is a rejection or at least dilution of individual intention as the prime mover of creativity
  • Questions one might ask include the following: What are the social and technical
    conditions or structures necessary for the generation of these artifacts? What is the discourse of
    amateur multimedia? What is the minimal unit of meaning? In what ways does its production
    establish relationships between authors, viewers, technologies, meaning, and ideology?
  • A key first step is to understand how creativity is implemented in multimedia authoring
    software. Each program has ways it encourages authors to work. For example, Photoshop
    greatly rewards users who take advantage of layers, opening up avenues of possibility for
    compositing, nondestructive experimentation, and long-term editability. This in turn makes
    certain meanings (especially meanings created by the juxtapositions of spatial compositing)
    more easily realized than others. To what extent do contemporary authoring platforms
    encourage in the same ways (constituting and compelling a notion of digital creativity), or do
    different applications suggest different notions of digital creativity?
  • Nele Noppe on 23 Feb 10
     
    "1"
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