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Nele Noppe

Dan Cohen's Digital Humanities Blog » Blog Archive » Digital Ephemera and the... - 0 views

  • How important are small written ephemera such as notes, especially now that we create an almost incalculable number of them on digital services such as Twitter? Ever since the Library of Congress surprised many with its announcement that it would accession the billions of public tweets since 2006, the subject has been one of significant debate. Critics lamented what they felt was a lowering of standards by the library—a trendy, presentist diversion from its national mission of saving historically valuable knowledge. In their minds, Twitter is a mass of worthless and mundane musings by the unimportant, and thus obviously unworthy of an archivist’s attention.
  • As any practicing historian knows, some of the most critical collections of primary sources are ephemera that someone luckily saved for the future.
  • But let me set aside for a moment my optimistic disposition about the Twitter archive and instead meet the critics halfway. Suppose that we really don’t know if the archive will be useful or not—or worse, perhaps we are relatively sure it will be utterly worthless. Does that necessarily mean that the Library or Congress should not have accessioned it?
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  • What does this mean for the archiving of digital emphemera such as status updates—those little, seemingly worthless online notes? It means we should continue to expend the majority of resources on those documents and people of most likely future interest, but not to the exclusion of objects and figures that currently seem unimportant. In other words, if you believe that the notebooks of a known writer are likely to be 100 times more important to future historians and researchers than the blog of a nobody, you should spend 10, not 100, times the resources in preserving those notebooks over the blog. It’s still a considerable gap, but much less than the traditional (authoritarian) model would suggest. The calculus of importance thus implies that libraries and archives should consciously pursue contents such as those in the Cambridge University Library tower, even if they feel it runs counter to common sense.
Nele Noppe

archive : s0metim3s | Undercommons - 0 views

  • there are different ways in which the idea of the commons has worked its way into being one of the most significant memes of the last few years - Pete Linebaugh is not Silvia Federici is not Toni Negri is not Lessig, and so on. Federici, for her part, signals a timely warning in Caliban and the Witch against assuming that ‘the commons’ was without divisions of labour, particularly a gendered division of labour.
  • Yet, as the idea of ‘the commons’ became resolutely attached to discussions over IP and various other forms of knowledge production it - much like the precarity meme - was often put to service as a way of reimposing a certain claim to ownership and division of labour, namely: the implicit assertion that knowledge-production only involved those who are marked (or mark themselves) as knowledge producers in a certain division of labour.
  • the concept of the undercommons is disruptive of claims that the commons was an idyll, without difference and without divisions of labour.
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  • For Harney and Moten, it works as a reminder of the colonial, racialised and gendered conditions of the (university) labour market, and against the constant calls for the renewal of this or that discipline which function merely to idealise (and continue) such conditions
Nele Noppe

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

  • 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.
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  • 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

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

  • 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

Fanfic Symposium: Age of Consent? Ptui. What About the Real Problems? - 0 views

  • I notice, though, that many (all?) of the fic archives where Harry appears in stories as a participant, are very quick to note in their intro the age of consent in the UK, though usually they just say it's 16 which as noted above is slightly inaccurate. This is interesting, or maybe only I find it so.  It looks to me as if they don't want to be considered to be peddling paedophilia, which would be an accusation the newspapers (for instance) might make.
Nele Noppe

Music Fandom vs. Narrative Fandom - 0 views

  • I’m thinking that perhaps the most important distinction between the two fandoms is the way that music fans take the resources of their fandom outside of that fandom as part of their self-presentation in other contexts. Think t-shirts with band names (Rob Walker’s excellent book Buying In reports that Ramones t-shirts have outsold Ramones albums 10 to 1). Think playlists embedded on social network profiles. Think bumper stickers
  • How does a Lost fan dress? Can you spot a Star Wars fan walking down the street? Narrative fandom is invisible unless it’s being discussed. Music fandom is much more likely to be made visible as an intrinsic part of self-definition in a wide variety of situations.
  • The upshot is that we should be wary of taking the practices of narrative fandom on which most fandom theory has been built as exemplary of all fandom. Different kinds of materials call for different kinds of practices, and if we’re to build theories that encompass all of fandom, we need to account for these distinctions as well as the similarities.
Nele Noppe

Audre Lorde: The Master's Tools Will Never Dismantle the Master's House - 0 views

  • Advocating the mere tolerance of difference between women is the grossest reformism. IT is a total denial of the creative function of difference in our lives. For difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic.
  • It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master’s house as their only source of support.
  • The failure of the academic feminists to recognize differences as a crucial stregnth is a failure to reach beyond the first patriarchal lesson. Divide and conquer, in our world, must become define and empower.
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  • I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives there. See whose face it wears. Then the personal as political can begin to illuminate all our choices.
  • Women of today are still being called upon to stretch across the gap of male ignorance, and to educate men as to our existence and our needs. This is an old and primary tool of all oppressors to keep the oppressed occupied with the master’s concerns.
Nele Noppe

THE BEAT » Blog Archive » Comic-Con's culture clash - 0 views

  • Comics were once tarred-and-feathered as sub-literate pablum, lacking any artistic or cultural merit, considered childish and lacking any merit. Communities once sponsored bonfires to rid them of the evil of comicbooks, less than a decade after the end of World War II.
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    On the way marginalisation of Twilight fans mirrors past marginalisation of comics fans
Nele Noppe

Confessions of an Aca/Fan: Archives: How "Dumbledore's Army" Is Transforming Our World:... - 0 views

  • The HP Alliance has adopted an unconventional approach to civic engagement -- mobilizing J.K. Rowling's best-selling Harry Potter fantasy novels as a platform for political transformation, linking together traditional activist groups with new style social networks and with fan communities. Its youthful founder, Andrew Slack, wants to create a "Dumbledore's Army" for the real world, adopting fantastical and playful metaphors rather than the language of insider politics, to capture the imagination and change the minds of young Americans. In the process, he is creating a new kind of media literacy education -- one which teaches us to reread and rewrite the contents of popular culture to reverse engineer our society.
  • The average person we reach is somewhere between the ages of thirteen and twenty-five, very passionate, enthusiastic, and idealistic - but often have very few activist outlets that speak to them. And this is no coincidence. Unfortunately, so much of our culture directed at young people is about asking them to consume.
  • In the case of Voldemort's followers, it's a cult, but it's still got this very addictive element to it, and I'm sure if you go into areas where there's terrorism in the world, a lot of families - like the ones I met and worked with in North Ireland -- experienced that addictive quality. It might not be drug addiction, but having a family member who is in a paramilitary group is a very, very difficult thing to cope with. Even families that sided with them intellectually couldn't deal with the idea of them being imprisoned and all of the horrible things they were doing.
Nele Noppe

Learning From Culture Pirates - 0 views

  • The history of publishing is swimming with pirates—far more than Adrian Johns expected when he started hunting through the archives for them. And he thinks their stories may hold keys to understanding the latest battles over digital publishing—and the future of the book.
  • Along with the practice itself, "pirates" in publishing just keep resurfacing, and Johns argues that the label is no accident. He sees it as the pirates' attempt to evoke romantic notions of seafaring swashbucklers. Sure, the copying done by culture pirates may be technically illegal, but they have long claimed the moral high ground, arguing that they are not petty thieves, but principled heroes rightfully returning creative work to a public commons by making free or cheap copies available.
  • The weighty work, more than 550 pages, covers hundreds of years of history of copyright and intellectual property in the West, focusing on the stories of those angling to disrupt prevailing practices.
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  • If we listen to those pirates of old, we'll learn that there is nothing sacred or natural about our basic ideas of intellectual property, he argues, characterizing those notions as imperfect conventions formed in and by the Industrial Revolution. In fact, he suggests, it may be time to cast our models of patents and copyright overboard.
  • This nemesis is a shadowy collective rather than a person. Johns calls it "the intellectual-property defense industry," and says it emerged in the 1970s or so, in the form of trade associations and entities like the Interpol Intellectual Property Action Group. He sees these groups as remarkable in that they bring together ex-military and police officials, surveillance techniques, and data-scrambling to try to stamp out piracy and in some cases to limit reform, in unprecedented ways. "One could certainly track, and perhaps account for, the increasing consistency of intellectual property in the age of globalization by following this expansion of its practical enforcement across new regions and realms," Johns writes in Piracy.
  • No piracy, we might say, no Enlightenment.
  • Maybe copyright and patents should be scrapped, and whole new categories of intellectual property created. One category could be for mechanical inventions, one for genetics and other life sciences, one for analog creative works, one for digital books and movies. Or some other mix-and-match. "We might have a system of classification that would have more basic entities but might practically be a lot simpler, because it would correspond to existing ways of carrying on in the world," he says.
Nele Noppe

Science in the Open » Blog Archive » Peer review: What is it good for? - 0 views

  • Scientists worship at the altar of peer review, and I use that metaphor deliberately because it is rarely if ever questioned.
  • Somehow the process of peer review is supposed to sprinkle some sort of magical dust over a text which makes it “scientific” or “worthy”, yet while we quibble over details of managing the process, or complain that we don’t get paid for it, rarely is the fundamental basis on which we decide whether science is formally published examined in detail.
  • There is a good reason for this. THE EMPEROR HAS NO CLOTHES! [sorry, had to get that off my chest]. The evidence that peer review as traditionally practiced is of any value at all is equivocal at best
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  • But there is perhaps an even more important procedural issue around peer review. Whatever value it might have we largely throw away. Few journals make referee’s reports available, virtually none track the changes made in response to referee’s comments enabling a reader to make their own judgement as to whether a paper was improved or made worse. Referees get no public credit for good work, and no public opprobrium for poor or even malicious work. And in most cases a paper rejected from one journal starts completely afresh when submitted to a new journal, the work of the previous referees simply thrown out of the window.
  • We never ask what the cost of not publishing a paper is or what the cost of delaying publication could be.
  • There is a direct cost to rejecting papers, both in the time of referees and the time of editors, as well as the time required for authors to reformat and resubmit. But the bigger problem is the opportunity cost – how much that might have been useful, or even important, is never published? And how much is research held back by delays in publication? How many follow up studies not done, how many leads not followed up, and perhaps most importantly how many projects not refunded, or only funded once the carefully built up expertise in the form of research workers is lost?
  • Journals need to acknowledge the papers they’ve rejected, along with dates of submission. Ideally all referees reports should be made public, or at least re-usable by the authors.
  • Traditional peer review is hideously expensive. And currently there is little or no pressure on its contributors or managers to provide good value for money. It is also unsustainable at its current level. My solution to this is to radically cut the number of peer reviewed papers probably by 90-95% leaving the rest to be published as either pure data or pre-prints. But the whole industry is addicted to traditional peer reviewed publications, from the funders who can’t quite figure out how else to measure research outputs, to the researchers and their institutions who need them for promotion, to the publishers (both OA and toll access) and metrics providers who both feed the addiction and feed off it.
Nele Noppe

chosaq » More Japanese book lending madness - 0 views

  • the main goal of the (Japanese) copyright law is a public one: “to contribute to the development of culture” (Art. 1 Japanese Copyright Law).
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    the main goal of the (Japanese) copyright law is a public one: "to contribute to the development of culture" (Art. 1 Japanese Copyright Law).
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