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Nele Noppe

Scans_Daily TOSed off Livejournal: If Only Someone Owned The Goddamned Servers | Organi... - 0 views

transformativeworks.org/...omeone-owned-goddamned-servers

blogging copyright fans gender livejournal fanficforensics phd

shared by Nele Noppe on 15 Mar 09 - Cached
  • To destroy this kind of discussion in the name of preventing piracy is exactly the kind of act that ISPs and social networking services like Livejournal protest when, for instance, copyright holders demand that they be shut down because some fraction of their users are using their infrastructure to share pirated content.
  • "if Scans_Daily were a male dominated community it would have not been suspended like this. Why? Because I don’t think it would have been on a site like Livejournal."
  • Female fans populate social network sites run by panicky male-dominated corporations who want to make money from selling advertising to women, but don’t really have the brass ovaries to deal with hosting female interaction on the internet. It’s like they expect feathered sugar with a hint of spice and are shocked to discover girls have locker room talk and smoke in the bathroom. Male fan communities seem to be owned and operated by like-minded males
Nele Noppe

Think Global, Fear Local: Sex, Violence, and Anxiety in Contemporary Japan - 0 views

www.amazon.com/...ref=sr_1_1

academic books enjo_kosai sexual_content media manga law children fanficforensics phd

shared by Nele Noppe on 15 Feb 09 - No Cached
  • Nele Noppe on 15 Feb 09
     
    by David Leheny, on views of/communication about sexuality in Japan
Nele Noppe

Communication theory - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Communication_theory

communication theory fanficforensics phd

shared by Nele Noppe on 19 Aug 08 - Cached
  • message production: Constructivist Theory, Action Assembly Theory message processing: Elaboration Likelihood Theory, Inoculation Theory discourse and interaction: Speech Acts Theory, Coordinated Management of Meaning developing relationships: Uncertainty Reduction Theory, Social Penetration Theory ongoing relationships: Relational Systems Theory, Relational Dialectics organizational: Structuration Theory, Unobtrusive and Concertive Control Theory small group: Functional Theory, Symbolic Convergence Theory media processing and effects: Social Cognitive Theory, Uses and Gratifications Theory media and society: agenda setting, spiral of silence culture: Speech Codes Theory, Face-saving Theory (Miller, v-viii) Symbolic Convergence Theory
Nele Noppe

The Poetics of the Open Work By Umberto Eco - 0 views

74.125.155.132/scholar

umberto_eco open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • ...39 more annotations...
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece, w
  • the new musical works referred to above reject the definitive, concluded message and multiply the formal possibilities of the distribution of their elements.
  • initiative of the individual performer
  • As he reacts to the play of stimuli and his own response to their patterning, the individual addressee is bound to supply his own existential credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of tastes, personal inclinations, and prejudices. Thus, his comprehension of the original artifact is always modified by his particular and individual perspective. In fact, the form of the work of art gains its aesthetic validity precisely in proportion to the number of different perspectives from which it can be viewed and understood.
  • A work of art, therefore, is a complete and closed form in its uniqueness as a balanced organic whole, while at the same time constituting an open product on account of its susceptibility to countless different interpretations which do not impinge on its unadulterable specificity.
  • it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.
  • the poetics of the "open" work tends to encourage “acts of conscious freedom” on the part of the performer and place him at the focal point of a network of limitless interrelations,
  • Instead nowadays it is primarily the artist who is aware of its implications.
  • However, in this type of operation, "openness" is far removed from meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete freedom of reception. What in fact is made available is a range of rigidly preestablished and ordained interpretative solutions,
  • and these never allow the reader to move outside the strict control of the author.
  • It is not that the four solutions of the allegorical passage are quantitatively more limited than the many possible solutions of a contemporary "open" work. As I shall try to show, it is a different vision of the world which lies under these different aesthetic experiences
  • Now if Baroque spirituality is to be seen as the first clear manifestation of modern culture and sensitivity, it is because here, for the first time, man opts out of the canon of authorized responses and finds that he is faced (both in art and in science) by a world in a fluid state which requires corresponding creativity on his part.
  • the new man's inventive role. He is no longer to see the work of art as an object which draws on given links with experience and which demands to be enjoyed; now he sees it as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.
  • W. Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a work of art is a construct which anyone at all, including its author, can put to any use whatsoever, as he chooses. This type of criticism views the literary work as a continuous potentiality of "openness"-in other words, an indefinite reserve of meanings. This is the scope of the wave of American studies on the structure of metaphor, or of modern work on "types of ambiguity" offered by poetic discourse.
  • Clearly, the work of James Joyce is a major example of an "open" mode, since it deliberately seeks to offer an image of the ontological and existential situation of the contemporary world.
  • Here the work is "open" in the same sense that a debate is "open." A solution is seen as desirable and is actually anticipated, but it must come from the collective enterprise of the audience. In this case the "openness" is converted into an instrument of revolutionary pedagogics.
  • the examples considered in the preceding section propose an "openness" based on the theoretical, mental collaboration of the consumer, who must freely interpret an artistic datum, a product which has already been organized in its structural entirety (even if this structure allows for an indefinite plurality of interpretations). On the other hand, a composition like Scambi, by Pousseur, represents a fresh advance.
  • it is clear that a composition such as Scambi poses a completely new problem. It invites us to identify inside the category of "open" works a further, more restricted classification of works which can be defined as "works in movement," because they characteristically consist of unplanned or physically incomplete structural units
  • If we turn to literary production to try to isolate an example of a work in movement," we are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far- reaching work, the quintessence of the poet's production. He conceived it as the work which would constitute not only the goal of his activities but also the end goal of the world:
  • However, Mallarmé's immense enterprise was utopian:
  • In every century, the way that artistic forms are structured reflects the way in which science or contemporary culture views reality.
  • Hence, it is not overambitious to detect in the poetics of the "open" work – and even less so in the "work in movement” – more or less specific overtones of trends in contemporary scientific thought.
  • The notion of "possibility" is a philosophical canon which reflects a widespread tendency in contemporary science; the discarding of a static, syllogistic view of order, and a corresponding devolution of intellectual authority to personal decision, choice, and social context.
  • The two-value truth logic which follows the classical aut-aut, the disjunctive dilemma between true and false, a fact and its contradictory, is no longer the only instrument of philosophical experiment. Multi-value logics are now gaining currency, and these are quite capable of incorporating indeterminacy as a valid stepping-stone in the cognitive process. In this general intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the work of art stripped of necessary and foreseeable conclusions, works in which the performer's freedom functions as part of the discontinuity which contemporary physics recognizes, not as an element of disorientation, but as an essential stage in all scientific verification procedures and also as the verifiable pattern of events in the subatomic world.
  • Here are no privileged points of view, and all available perspectives are equally valid and rich in potential.
  • This is not the place to pass judgment on the scientific validity of the metaphysical construct implied by Einstein's system. But there is a striking analogy between his universe and the universe of the work in movement
  • Therefore, to sum up, we can say that the "work in movement" is the possibility of numerous different personal interventions, but it is not an amorphous invitation to indiscriminate participation. The invitation offers the performer the opportunity for an oriented insertion into something which always remains the world intended by the author.
  • All these examples of "open" works and "works in movement" have this latent characteristic, which guarantees that they will al- ways be seen as "works" and not just as a conglomeration of random components ready to emerge from the chaos in which they previously stood and permitted to assume any form whatsoever.
  • Now, a dictionary clearly presents us with thousands upon thou- sands of words which we could freely use to compose poetry, essays on physics, anonymous letters, or grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw material in any way that the manipulator wishes. But this does not make it a "work." The "openness" and dynamism of an artistic work consist in factors which make it susceptible to a whole range of integrations. They provide it with organic complements which they graft into the structural vitality which the work already possesses, even if it is incomplete. This structural vitality is still seen as a positive property of the work, even though it admits of all kinds of different conclusions and solutions for it
  • We have, therefore, seen that (1) "open" works, insofar as they are in movement, are characterized by the invitation to make the work together with the author and that (2) on a wider level (as a subgenus in the species "work in movement") there exist works which, though organically completed, are "open" to a continuous generation of internal relations which the addressee must uncover and select in his act of perceiving the totality of incoming stimuli. (3) Every work of art, even though it is produced by following an explicit or implicit poetics of necessity, is effectively open to a virtually unlimited range
  • of possible readings, each of which causes the work to acquire new vitality in terms of one particular taste, or perspective, or personal performance
  • The poetic theory or practice of the "work in movement" senses this possibility as a specific vocation. It allies itself openly and selfconsciously to current trends in scientific method and puts into action and tangible form the very trend which aesthetics has
  • already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.
  • The poetics of the "work in movement" (and partly that of the "open" work) sets in motion a new cycle of relations between the artist and his audience, a new mechanics of aesthetic perception, a different status for the artistic product in contemporary society. It opens a new page in sociology and in pedagogy, as well as a new chapter in the history of art. It poses new practical problems by organizing new communicative situations. In short, it installs a new relationship between the contemplation and the utilization of a work of art.
Nele Noppe

Open-work: Dining at the Interstices - 0 views

www.heelstone.com/...haylesfr.htm

open_work literature internet copyright phd phd_unfinished

shared by Nele Noppe on 31 Jan 10 - Cached
  • In the New Millennium, the tradition that Judy Chicago pioneered of recognizing and celebrating women’s contributions continues in the vibrant new medium of the Web. Talan Memmott has suggested the term "Rich Lit" for the cornucopia of delights that this new "Dinner Party" offers.
  • The protest of the literati may be misguided, but it has enough nanograms of truth to prompt me to suggest a complementary term to Talan’s rich lit: open-work.
  • As a term, open-work calls attention to the fact that the craftwork of making has again become a recognized and important component of textual production. During the last several hundred years, the commodification of book production drove a wedge between authorial process and the hands-on labor of producing the book as a physical object. The complex history behind this separation has been documented by Mark Rose in Authors and Owners: The Invention of Copyright, among others. Suffice it to say here that a constellation of economic, political and class forces was successful in promulgating the idea that what the author produced was an immaterial concept separated from and untainted by the commercial networks that brought the actual book into being.
  • ...9 more annotations...
  • "work"--associated with the same male-centered world view that so enraged July Chicago-
  • The intelligence, knowledge, and creativity it takes to write and/or implement software for artistic purposes can no longer be separated from the work,
  • The open-work is open in the sense that it serves as a fluid space in which artistic intent commingles with technical expertise. At many levels and in many ways, the material basis for the production of the open-work interpenetrates the work as concept and cannot be separated from it.
  • rt itse
  • Especially illuminating in this regard are open-works that foreground the importance of craftwork by "treating" traditional texts so their concepts become literalized or materialized in new ways, thus opening spaces within the traditional texts where the fluid and hybrid nature of the open-work can asse
  • appropriation
  • Another aspect of the openness of the open-work is expressed in its fusion of text and image. With digital technology
  • The encoding of text into binary code allows fragmentation and recombination to operate in ways unthinkable with alphabetic language.
  • Finally, the open-work is open in the sense that it radiates out to a physically dispersed community, uniting together in collaborative projects women from different regions and countries, as well as bringing into existence an international Web community who can access and benefit from each other’s works.
Nele Noppe

Calvin Trillin - Wikipedia, the free encyclopedia - 1 views

en.wikipedia.org/...Calvin_Trillin

united_states discrimination food phd

shared by Nele Noppe on 21 Apr 10 - Cached
  • Nele Noppe on 21 Apr 10
     
    Andrew McKevitt
  • Nele Noppe on 21 Apr 10
     
    On top of that, I think there's an ethnocentrism (for lack of a better word) at play here. Japanese Americans and Japanese immigrants have recounted watching untranslated, unsubtitled, unedited anime on local-access Japanese community TV stations in LA from the early 1970s on, and their ability to access and understand this "foreign" cultural product could serve as an "in" with non-Japanese SF fan communities. It seems that Japanese in the United States are often written out of the stories of Japanese cultural transmission to this country. (I think it was Calvin Trilling who argued that, in fact, that's one reason why sushi is so appealing-- Americans don't identify it with physical Japanese bodies, like they do "lesser" cuisines such as Chinese and Mexican.) Just another example that might show that this process was more diffuse than Leonard or Fred Patten have represented.
Nele Noppe

Monstrous melodrama: Expanding the scope of melodramatic identification to interpret ne... - 1 views

journal.transformativeworks.org/...155

fans television supernatural_series intimacy phd

shared by Nele Noppe on 31 May 10 - Cached
  • Indeed, the negative responses to "Monster" provide an interesting case study in the context of increasingly intimate relations between television producers and viewers, an intimacy that, generally speaking, is highly desirable to fans. What interests me particularly is that in some cases this increased intimacy is not desirable; for some fans, and in some contexts, distance is preferred.
  • While previous scholarly attempts to characterize slash generically have linked it to fantasy/science fiction, romance, and a genre termed intimatopic, I prefer the descriptive power of melodrama as a type, a narrative style, and a cultural mode. As I will explicate further below, many slash stories dwell on situations of intense pathos, scenarios of emotional surfeit nearly unmatched in any other form of narrative.
  • In short, melodramatic identification cannot be restricted to an affective relationship with a character or plotline; rather, it is a relationship to a continuous interweaving of texts—including both fan fiction and the narrative of the fan herself—into a greater text that the fan knows as "my show.
  • ...6 more annotations...
  • Indeed, melodrama, like many cultural forms associated with "female interests," is simultaneously omnipresent in television and yet continuously undervalued; it is that which must be avoided if a show is to be considered "quality"
  • Indeed, some forms of slash are completely committed to the exploration of intimacies in the most taboo, fantastic, or simply impossible situations. Wincest might be an example of one such type; certainly incest is a kind of impossible situation.
  • To invoke the term queer in relation to slash is to enter onto controversial ground. Even so, it is the case that, for some fans, an investment in a community and even an identity was part of the small but virulent negative reaction to "Monster," an episode whose clever and occasionally aggressive metatextual play triggered feelings of hurt, exposure, and outrage.
  • Concurrently, the writer Siege displays a keen understanding of the emotional investments of a large segment of Supernatural's audience, as the publisher drools over Sam and Dean's moments of angst, sighing: "It's just the best when they cry."
  • Clearly, there is something emotionally alluring for fans about the idea of being known.
  • A milder and more frequent kind of complaint invoked expectations of privacy. Despite—or because of—the understanding that Wincest is a potential violation of the sensibilities of Kripke, or of the actors who portray the characters in question, there was and is a feeling that the references to Wincest are exposing something that should remain within the community.
Nele Noppe

Confessions of an Aca/Fan: Archives: Acafandom and Beyond: Week One, Part One (Anne Kus... - 0 views

henryjenkins.org/...andom_and_beyond_week_one.html

fandom academia aca-fans

shared by Nele Noppe on 11 Jul 11 - No Cached
  • Nele Noppe on 11 Jul 11
     
    As fan communities face members who see their positions as enlightened because of their "superior" knowledge--and as academic conferences, programs, and journals are flooded with people who see fan studies as a justification to make a living writing about their hobby without worrying so much about any critical intervention or generating compelling insights--it's perhaps no surprise that the term has "grown" to the point that people are now questioning whether its use has been stretched past usefulness.
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

Project MUSE - Cinema Journal - Living in a Den of Thieves: Fan Video and Digital Chall... - 0 views

muse.jhu.edu/...48.4.lothian.html

fans fanwork vidding law

shared by Nele Noppe on 28 Nov 10 - No Cached
  • In particular, it commemorates the practices of online media fan communities: female-dominated networks that cohere around affective investments in media properties and that produce and share textual, visual, and video art that is based on "their" TV shows or films.
  • "den of thieves,"
  • For most vidders, valid fears of not being recognized as owning the product of their recombinatory labor—often, as in Russo's case studies, perceived as an undifferentiated feature of the online "public" domain—are of more concern than whether their disregard of copyright is likely to usher in new forms of digital ownership. Many valid arguments for the righteousness of Lim's artistic production leave intellectual property laws intact, insisting that the geek girl poses no threat. Putting transformed images to music [End Page 131] in a new order creates a new artwork worthy of recognition, and (as Hellekson outlines and De Kosnik challenges) Lim does not profit from her production. These arguments have been publicized by the Organization for Transformative Works (OTW), a non-profit organization of media fans who work for "a future in which all fannish works are recognized as legal and transformative and are accepted as a legitimate creative activity."4
  • ...6 more annotations...
  • I am a member of OTW and support their advocacy unequivocally. But it seems essential to me to recognize that fans' appropriative art is not necessarily complicit with legal and economic structures as they stand. It is worth determining who defines the use as fair, and what it might mean to place a value on unfair uses.
  • What does appropriative art imply if we don't try to justify it within the terms of existing legal systems, but rather use its potential illegality to imaginatively liberate music and images from structures of corporate ownership?
  • den of thieves that nurtures "Us" and other artworks that are based on mainstream media properties for which "copyleft" licensing would be unimaginable.
  • Freedom is a slippery concept, especially when it comes to digital media. When we think about questions of copyright and digital ownership through cultural theft, freedom from domination lines up with freedom from having to pay—at least on the surface. Theft, piracy, and the commons are all concerned with getting things for free, and current configurations of online media and culture are hospitable to their insurrectionary modes of ownership.
  • In recent years, media producers have explicitly sought to solicit fan participation as labor for their profits in the form of user-generated content that helps build their brand. Many fans perceive these developments as a desirable legitimation of fan work, but they can also be understood as an inversion in the direction of fannish theft. Rather than fans stealing commodified culture to make works for their own purposes, capital steals their labor—as, we might consider, it stole ideas from the cultural commons and fenced them off in the first place—to add to its surplus.
  • transformation as an undercommons: an unofficial and transient space in which work simultaneously reproduces and undermines the structures that enable it.13 Fans mobilize for a purpose that is neither radically disruptive of, nor fully incorporated into, the media industry's systems of ownership, but simultaneously supports and undercuts them while producing a collectivity of its own. And that collectivity, while it holds the media properties up, steals from them: abusing the hospitality of those who own the servers, the ISPs, the copyright, and taking its productions more seriously than they intended.
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