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Nele Noppe

Rebecca Tushnet's 43(B)log: Is copying theft? - 0 views

tushnet.blogspot.com/...is-copying-theft.html

copyright phd

shared by Nele Noppe on 04 May 11 - No Cached
  • Jonathan M. Barnett, What’s So Bad About Stealing? The paper skips straight to the proposition that any kind of unauthorized copying (including copying of ideas and expression, but also and of more present interest mechanical reproduction) is theft, then concludes that “Some positive level of tolerated theft is an essential component of any transaction structure that maximizes the social wealth generated by creative production.” I don’t quite understand how you can call copying theft without first establishing that the copied thing is owned.
  • What really struck me here about the language of theft (second-comer side), rather than the more apparently neutral language of property (first-comer side), was the ways in which it highlights that intellectual property isn’t about theft.
  • This paper is also another datum for my theory that copyright restrictionists like to talk about “readers” and maximalists like “users.” Or anyway, they like to use that name for them.
Nele Noppe

Why poor countries lead the world in piracy | Technology | guardian.co.uk - 0 views

www.guardian.co.uk/...or-countries-lead-world-piracy

phd copyright

shared by Nele Noppe on 03 May 11 - No Cached
  • Media Piracy's core thesis is simple: people in the poor world don't pay for software, games, music and movies because these goods cost too much. Whereas a DVD here might cost you an hour's wage, the same DVD in a poor country could cost a day's work, or a week's, or even more
  • But that's not what the media companies say they believe. In their official narrative – bolstered by a long line of studies with undocumented methodologies and assumptions – is that poor countries simply lack a "culture of copyright" that can be reinforced through education and enforcement.

  • Karganis and co have much to say on this score. They document the way that the airwaves and newspapers in poor countries are dominated by the official, Hollywood view of piracy, presented uncritically and at length. The message is even integrated into the school curriculum through official teaching units produced by American entertainment conglomerates and given to teachers to be delivered verbatim to their students.

    On the enforcement side, entertainment companies often secure a kind of rough, streamlined justice that allows them to race to the head of the justice line, pushing past criminal and civil cases of much larger magnitude. They get their own police forces tasked to them, and their own special high-grade punishments that treat offences against them as inherently graver than offences against local firms and people.

  • ...1 more annotation...
  • But by asking taxpayers – here in the rich world and also in the poor world – to foot the bill for trade sanctions, enforcement, new civil and criminal penalties, even global treaties like ACTA, the entertainment industry can still get a profit out of the poorest people in the world by externalising the costs and reaping whatever sliver of legit market they can drag out of the poor world by brute force.
Nele Noppe

Confessions of an Aca/Fan: Archives: From a Cyberspace of Their Own to Television 2.0: ... - 1 views

henryjenkins.org/...cyberspace_of_their_own_1.html

fans fandom race humor phd international

shared by Nele Noppe on 08 Nov 10 - No Cached
  • I haven't a clue why so little is written about humor. Having a background in sociolinguistics, I have a particular interest in language practices and in how things get said, not just in what gets said. Humor plays such an important role in the community making process, cutting across fan interactions and practices, including romantic and erotic talk.
  • As I argued in Cyberspaces, humor is bound up with class, gender and by extension race and ethnicity and nationality.
  • Due South with its American fan base was part of what Chris Barker calls reverse flow. In his 1999 book, Television, Globalization and Cultural Identities, he challenged the notion that the one-way flow of American programming to the rest of the world would lead to the homogenization of culture and the erasure of local and national identities. The more likely outcomes, he argued, were fragmentation and hybridization.
  • ...1 more annotation...
  • Of course not all fans responded this way but even the well-meaning comments made in defense of David's actions served to erase his identity as a gay man. I described these fans as textual gamekeepers. Unlike the slash fiction writers who poach by queering the characters that have been written by the producers as straight, these fans "straightened out" the gay storylines. I bet there's a whole lot more textual gamekeeping going on in fandom that has yet to be uncovered.
Nele Noppe

Videogames and art - Google Boeken - 0 views

books.google.be/books

fanart semiotics phd phd_unfinished

shared by Nele Noppe on 27 Sep 10 - No Cached
  • Nele Noppe on 27 Sep 10
     
    Videogames and art
Nele Noppe

Chapter 1: Ergodic Literature - 0 views

www.hf.uib.no/...Ergodic.html

open_work fanwork internet phd phd_unfinished literature cybertext games

shared by Nele Noppe on 08 Sep 10 - Cached
  • Nele Noppe on 08 Sep 10
     
    espen aarseth
Nele Noppe

Cybertext - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Cybertext

open_work fanwork internet phd phd_unfinished literature

shared by Nele Noppe on 08 Sep 10 - Cached
  • Cybertext is based on the idea that getting to the message is just as important as the message itself. In order to obtain the message work on the part of the user is required. This may also be referred to as nontrivial work on the part of the user.[2]
  • The fundamental idea in the development of the theory of cybernetics is the concept of feedback: a portion of information produced by the system that is taken, total or partially, as input.
Nele Noppe

Hypertext fiction - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Hypertext_fiction

literature hypertext phd phd_unfinished

shared by Nele Noppe on 08 Sep 10 - Cached
  • Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links which provides a new context for non-linearity in "literature" and reader interaction[1].
Nele Noppe

Electronic Literature: What is it? - 0 views

eliterature.org/elp.html

literature hypertext open_work phd phd_unfinished to_read

shared by Nele Noppe on 08 Sep 10 - Cached
  • the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works.
  • "literature" has always been a contested category.
  • To see electronic literature only through the lens of print is, in a significant sense, not to see it at all.
  • ...19 more annotations...
  • Electronic literature, generally considered to exclude print literature that has been digitized, is by contrast "digital born," a first-generation digital object created on a computer and (usually) meant to be read on a computer
  • At the same time, because electronic literature is normally created and performed within a context of networked and programmable media, it is also informed by the powerhouses of contemporary culture, particularly computer games, films, animations, digital arts, graphic design, and electronic visual culture
  • Digital technologies are now so thoroughly integrated with commercial printing processes that print is more properly considered a particular output form of electronic text than an entirely separate medium. Nevertheless, electronic text remains distinct from print in that it literally cannot be accessed until it is performed by properly executed code
  • immediacy of code to the text's performance is fundamental to understanding electronic literature, especially to appreciating its specificity as a literary and technical production
  • How to maintain such conventional narrative devices as rising tension, conflict, and denouement in interactive forms where the user determines sequence continues to pose formidable problems for writers of electronic literature, especially narrative fiction.
  • . "Giving the audience access to the raw materials of creation runs the risk of undermining the narrative experience," she writes, while still acknowledging that "calling attention to the process of creation can also enhance the narrative involvement by inviting readers/viewers to imagine themselves in the place of the creator.
  • Hypertext fiction, network fiction, interactive fiction, locative narratives, installation pieces, "codework," generative art and the Flash poem are by no means an exhaustive inventory of the forms of electronic literature, but they are sufficient to illustrate the diversity of the field, the complex relations that emerge between print and electronic literature, and the wide spectrum of aesthetic strategies that digital literature employs
  • . Such close critical attention requires new modes of analysis and new ways of teaching, interpreting, and playing. Most crucial, perhaps, is the necessity to "think digital," that is, to attend to the specificity of networked and programmable media while still drawing on the rich traditions of print literature and criticism.
  • One problem with identifying the hyperlink as electronic literature's distinguishing characteristic was that print texts had long also employed analogous technology in such apparati as footnotes, endnotes, cross-reference, and so on, undermining the claim that the technology was completely novel. Perhaps a more serious problem, however, was the association of the hyperlink with the empowerment of the reader/user. As a number of critics have pointed out, notably Espen J. Aarseth, the reader/user can only follow the links that the author has already scripted.
  • ergodic literature
  • The shortcomings of importing theoretical assumptions developed in the context of print into analyses of electronic media were vividly brought to light by Espen J. Aarseth's important book Cybertext: Explorations of Ergodic Literature.
  • ," texts in which "nontrivial effort is required to allow the reader to traverse the text"
  • The deepest and most provocative for electronic literature is the fifth principle of "transcoding," by which Manovich means the importation of ideas, artifacts, and presuppositions from the "cultural layer" to the "computer layer" (46).
  • arguing that print texts also use markup language, for example, paragraphing, italics, indentation, line breaks and so forth.
  • Complementing studies focusing on the materiality of digital media are analyses that consider the embodied cultural, social, and ideological contexts in which computation takes place.
  • electronic literature can be seen as a cultural force helping to shape subjectivity in an era when networked and programmable media are catalyzing cultural, political, and economic changes with unprecedented speed.
  • Liu urges a coalition between the "cool" — designers, graphic artists, programmers, and other workers within the knowledge industry — and the traditional humanities, suggesting that both camps possess assets essential to cope with the complexities of the commercial interests that currently determine many aspects of how people live their everyday lives in developed societies.
  • The Laws of Cool: Knowledge Work and the Culture of Information
  • Realizing this broader possibility requires that we understand electronic literature not only as an artistic practice (though it is that, of course), but also as a site for negotiations between diverse constituencies and different kinds of expertise.
  • Nele Noppe on 08 Sep 10
     
    Hayles
Nele Noppe

Electronic literature - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Electronic_literature

literature hypertext open_work phd phd_unfinished

shared by Nele Noppe on 08 Sep 10 - Cached
  • N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
  • Computer art installations which ask viewers to read them or otherwise have literary aspects
  • Nele Noppe on 08 Sep 10
     
    N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
Nele Noppe

Ian Bogost - Against Aca-Fandom - 1 views

www.bogost.com/...against_aca-fandom.shtml

academia fandom phd phd_unfinished

shared by Nele Noppe on 13 Aug 10 - No Cached
  • But for the academic critic, I think the stakes are higher. One can like or dislike something, but we scholars, particularly of popular media, have a special obligation to explain something new about the works we discuss. There are plenty of fans of The Wire and Mad Men and Halo and World of Warcraft out there. The world doesn't really need any more of them. What it does need is skeptics, and the scholarly role is fundamentally one of skepticism.
  • While media scholars do not solely write about what we like, the prevalence of books focused on "quality television" shows that appeal to academics like Buffy the Vampire Slayer, The Sopranos, and now Mad Men—especially when compared to the lack of similar volumes or essays about more lowbrow or mainstream programs—suggests that taste is often more of a motivating factor for our scholarship than we admit. We should own up to our own fannish (or anti-fannish) tendencies regarding our objects of study, not regarding fan practices as something wholly separate from our academic endeavors by acknowledging how taste structures what we choose to write about.

    I'd push it further: the media scholar ought to resist aca-fandom, even as he or she embraces it. The fact that something feels pleasurable or enjoyable or good (or bad) need not be rejected, of course, but it ought to issue an itch, a discomfort. As media scholars, we ought to have self-doubt about the quality and benefit of the work we study. We ought to perform that hesitance often and in public, in order to weave a more complex web around media—not just to praise or blame particular works.

  • In this regard, I disagree with Jason when he says that "humanities scholars don't typically brand ourselves as fans of our objects of research." I think this is just plain wrong, and not just for pop-culture scholars. More often than not, humanists in general get into what they do precisely because they are head-over-heels in love with it, whether "it" be television, videogames, Shakespeare, Martin Heidegger, the medieval chanson de geste, the Greek lyric poem, or whatever else. Specialty humanities conferences are just fan conventions with more strangely-dressed attendees. Humanists are doe-eyed romantics, even as they are also snarly grouches.
  • ...1 more annotation...
  • Embracing aca-fandom is a bad idea. Not because it's immoral or crude, but because it's too great a temptation. Those of us who make an enviable living being champions of media, particularly popular media, must also remain dissatisfied with them. We ought to challenge not only ourselves, our colleagues, and our students—but also the public and the creators of our chosen media. We ought not to be satisfied. That's the price of getting to make a living studying television, or videogames, or even Shakespeare.
Nele Noppe

Fan Cultures by Matt. Hills - 0 views

www.bookdepository.co.uk/...Fan-Cultures

fans affect fandom fanwork television music characters phd

shared by Nele Noppe on 23 Jul 10 - Cached
Nele Noppe

Where is Middle Earth? The International Reception of the Lord of the Ring as Popular C... - 0 views

www.citeulike.org/...7437832

lotr fans to_read phd

shared by Nele Noppe on 21 Jul 10 - Cached
Nele Noppe

Repeat Viewing: Television Analysis in the DVD Age - 1 views

www.citeulike.org/...7437993

television fans fandom phd

shared by Nele Noppe on 21 Jul 10 - Cached
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