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Nele Noppe

Webster's World of Cultural Policy - 1 views

www.wwcd.org/policy.html

cultural_policy history europe economy united_states phd

shared by Nele Noppe on 03 Apr 10 - Cached
  • Facing the indifference and hostility of the vast majority of their populations -- sometimes referred to as "non-publics," to indicate their disinterest in establishment culture -- European policy-makers reinterpreted their own roles. They began to see themselves as needing to address the many cultures within their societies, not simply promoting the traditional "high art" culture favored by wealthy patrons in the past. Instead of focusing on how to lure people into established arts institutions, these cultural ministers turned to a set of much broader social questions: How can we begin to overcome the already-entrenched alienation of modernization? How can we retrieve and preserve relevant traditions? How might we facilitate cross-cultural communication, even cooperation? How can we help animate community life?
  • Among the primary means devised to realize the aims of cultural democracy is community animation.
  • What's most important for advocates of cultural democracy is to keep the big picture in mind.
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

Of Otakus and Fansubs - 0 views

www.law.ed.ac.uk/...hatcher.asp

academic anime copyright fans fansubbing internet fanficforensics phd

shared by Nele Noppe on 23 Dec 08 - Cached
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • Lessig and other legal scholars such as Mehra have pointed to dojinshi in Japan as an example of how permitting more “remix” can contribute to a vibrant cultural industry.
  • ...26 more annotations...
  • some artists make a living off producing dojinshi.
  • In the west, fans of anime, the term for Japanese animation, behave much like fans of Star Wars and Star Trek: they “remix” the characters and ideas from the stories they watch.
  • Trekkies or Star Wars fans do the same activities as otaku, but one practice sets anime fans apart from other avid fans: fansubs.
  • Manga also has its own form of fansubs called scanlations
  • Fansubs and scanlations don’t quite match the “traditional” forms of remix that Lessig and others mention. They do not create a “new” work in the same sense as dojinshi, fan films, or AMVs because their aim is to remain faithful to the original work.
  • Fansubs as a cultural product sit at an interesting boundary—between the dojinshi-like fan culture that authors such as Lessig want to encourage and the massive online file trading so vilified by the recording and motion picture industries.
  • examines the anime industry’s unique relationship with fansubbers in the context of the suggestion that it represents a new policy model for online copyright.
  • Section 7 concludes by stating that it is too soon to claim the anime industry as a victory for alternative business models incorporating what most would think of as widespread copyright infringement.
  • Otaku create fansubs because they love anime—in fact, most love all things Japanese.
  • Fansubs predate BitTorrent, broadband, the dotcom boom and bust, and even the World Wide Web.
  • Fansubbers distributed or traded the finished videocassette tapes to others, but because of the time and cost involved of mailing out a physical medium, distribution was limited.
  • At one time fansubs were virtually the only way that fans could watch (and understand) anime.
  • But as with the music industry, the benefits of digital technology and the internet brought problems.46 Fansubbers started to take advantage of faster computers that allowed them to subtitle anime without the need for expensive, specialized equipment.47 This made it easier for more people to fansub because of the lower cost barriers to becoming a fansubber. The internet also meant that fans could meet from around the world, thus making it more likely that fansub groups would form. Today, groups now make digital video files instead of videocassettes.
  • Fansubbed videocassettes offered a poor quality picture and sound that encouraged fans to buy the licensed product when it came out and also limited the number of copies that could be made from a single original cassette (or from 2nd and 3rd generation cassettes).49 Digisubs offer a quality comparable to official (DVD) releases and the ability to make limitless copies.
  • Fansubbers then “release” their fansubs to fans. Distribution happens through all of the regular internet channels, including p2p services (Kazaa, eMule, etc), BitTorrent, IRC, and newsgroups.
  • Lessig essentially asks the question, “Do our laws stifle creativity and sharing to the point where it harms society?”78 Some point to fansubs and anime as part of the answer to this question—when a company allows some illegal activity it actually benefits.
  • Unfortunately for fansubbers, copyright law does not condone their activities.80 International copyright treaties such as the Berne Convention, state that its signatories (such as the United States and Japan) should grant authors the exclusive right to translation.
  • copyright law construes translations as “derivative works”.82 Derivative works are any work “based upon one or more preexisting works.
  • Within Japan, fansubs could potentially be within the law because the Japanese take a more relaxed attitude towards some aspects of copyright law and include private use and non-profit exceptions into their law.
  • The Japanese legal system may also, as a practical matter, discourage litigation towards fansub groups within Japan,
  • For infringements outside of Japan, it is no small wonder that Japanese companies do not bother with the expense of enforcing a right against a group whose infringement affects a distant market with a different legal system.
  • In his article regarding selective copyright enforcement and fansubs, Kirkpatrick argues for a fair use defense under U.S. law for fansub activities based on the cross-cultural value of translations, the non-commercial nature of fansub groups, and the potential market enhancement for the original work.
  • The fact remains that fansubs may create a preferable product for otaku—thus decreasing any market enhancement arguments.
  • One wonders what could be easier than a few clicks of the mouse and a few hours (or less) wait for a file to download, for free. Many video files deliver comparable picture quality and fandubs do exist.
  • Regardless of any potential defense, the law sufficiently tilts towards copyright holders so that they can easily use the threat of suit as enforcement.
  • The sheer cost of defending a copyright suit makes for a powerful incentive for fansubbers to settle, especially since fansubbers make no money from their activities and are unlikely to have any assets.
Nele Noppe

popblog: Researching Polish Fandom - 0 views

popularny.blogspot.com/...researching-polish-fandom.html

fans research academia cross-cultural fanficforensics phd

shared by Nele Noppe on 21 Feb 10 - Cached
  • one is addicted to foreign studies.
  • t is really hard to tell something specifically about Polish fans without comparing them to American or British.
  • Polish fans do not have the past described by Coppa. During the communistic period it was very seldom for people to organize themselves like the fans from the other side of the Iron Curtain. Poles were not prohibited to be fans and fannish behaviors were not restricted and prosecuted. Polish audiences simply did not have the need of being fans.
  • ...4 more annotations...
  • In People’s Republic of Poland popular culture was in fact considered as high culture. People that were watching American movies and TV shows were in fact the elite with cultural competences superior to an average viewer (Kowalski, 1988) [2].
  • I must underline, however, that fan clubs were completely different from Western fandoms. Members of clubs were the elite in a different sense than fans. Sci-fi fan clubs were a window with a view on freedom, with a view on a completely different world – a capitalist world.
  • olish fans are “fans without the past”. Unlike their equivalents from the West they have no tradition or heritage. Therefore they do not realize they are a part of something larger, something that has a long history and has been a part of media consumption for a very long time.
  • Comparisons (with Western fans) that Polish researchers are bound to make seem to be methodologically unfounded. One cannot compare Polish fans with their Western equivalents. This kind of comparisons become inappropriate because of a completely different background of Polish fans (or I should say: lack of this background).
Nele Noppe

Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-cultural Fandom of the Genre - 0 views

www.amazon.com/...ref=sr_1_7

books academic manga boys_love fanficforensics phd

shared by Nele Noppe on 13 Feb 10 - No Cached
  • Nele Noppe on 13 Feb 10
     
    ed. Antonia Levi, Mark McHarry, Dru Pagliassotti
Nele Noppe

Titus Hjelm - From Demonic to Genetic: The Rise and Fall of Religion in Vampire Film - 0 views

www.theofantastique.com/...ll-of-religion-in-vampire-film

zoomorphism horror supernatural vampires religion phd

shared by Nele Noppe on 20 Apr 10 - Cached
  • Basically my thesis is that in recent vampire fiction (both film and books) the vampire has undergone a change from a religious figure into a scientifically defined villain. In other words, whereas the crucifix used to be the best weapon against Bela Lugosi and Christopher Lee, the likes of Wesley Snipes and Kate Beckinsale are more concerned about biological weapons used against them. These are what I call the ‘old paradigm’ and ‘new paradigm’ celluloid vampires, respectively. 
  • In contrast, the modern vampires are represented explicitly as an outcome of a gene mutation. Their main motivation is not to spread ‘evil’ in itself, but to survive, and for some, to rule humans. Therefore, it is not a question of satanic vampires vs. good Christians, but a question of racial supremacy. Finally, as I mentioned above, the new films often employ metafiction in reference to religious symbolism, saying that unlike popular culture teaches us, ‘crosses don’t do squat.’ 
  • I think the first rule of cultural analysis is not to read too much meaning into the text itself, so answering that question is notoriously difficult. One plausible thesis would be that religious symbols have lost at least some of the common resonance ground they once had, therefore making the religious, ‘old paradigm’ vampire somewhat obsolete in contemporary culture. On the other hand, the need for ‘enchantment’ has not disappeared, now we’re just enchanted by the possibilities of science gone awry rather than religious evil. 
Nele Noppe

dmp | Thoughts about Orientalism, Imperialism & Steampunking Asia - 0 views

dmp.dreamwidth.org/848.html

steampunk racism asia fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • And then I realized something that made me sad about this cool, geeky subculture that I’m so eager to participate in: The steampunk movement romanticizes a time period where imperialist and racist attitudes prevailed and many people were oppressed as a result of them. When Queen Victorian sat upon her throne, a lot of other Western powers were doing not nice things to people in Asia, in the Middle East, in Africa and the Western US, and now, a over hundred years later, people want to live in that time period again, or at least use it as creative inspiration.
  • Sure, here I go ranting about how much of steampunk portrays Asian culture inaccurately and possibly offensively, but what about how steampunk portrays the entire Victorian era in general? It isn’t all accurate; sometimes, it isn’t even meant to be accurate. Essentially, steampunk is artistic expression, rooted in fantasy-escapism and based on a cross between Victorian pulp fiction and a wave of New Romanticism. It’s freaking running around in top hats and waistcoats firing souped-up Nerf guns at each other. If taken as simply a fashion concept and entertainment trend, why should people be concerned? Why should it matter? Should white fans suddenly have to worry about Bigger Implications, and thus, spoiling the fun they’ve having? But a realization: Oh YES it matters, and YES other white steampunkers should take note (and Steampunkers of color should consider, if they haven’t already). Because every time someone says it doesn’t matter, they’re further promoting that outdated attitude that a diverse and complex portrayal of Asia does not matter. That it can be packaged into chopsticks, jade dragons, and kimonos for general consumption, to conform to any fashion trend, to mold to any entertainment purpose.
  • A lot of people play off the steampunk movement as a lot of “steam” and not enough “punk”—that is, all dress-up and fetishization of Victorian culture and not enough deconstruction and challenging the establishment. But I want to change that perception, at least in my own way here. But, at the same time, be an outrageous, ironical character to boot – became damn, I want to have fun too. And not have to be British or Chinese.
  • ...1 more annotation...
  • So, a proposal to my fellow steampunkers, Asian and non-Asian alike: Steampunk subverts so much, so let’s have it subvert our histories too.
  • Nele Noppe on 11 Aug 09
     
    " And then I realized something that made me sad about this cool, geeky subculture that I'm so eager to participate in: The steampunk movement romanticizes a time period where imperialist and racist attitudes prevailed and many people were oppressed as a result of them. When Queen Victorian sat upon her throne, a lot of other Western powers were doing not nice things to people in Asia, in the Middle East, in Africa and the Western US, and now, a over hundred years later, people want to live in that time period again, or at least use it as creative inspiration. "
Nele Noppe

Aestheticism Articles: HP doujinshi - 0 views

www.aestheticism.com/...index.htm

dojinshi fan_fiction fans fanwork harry_potter non-academic fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Japanese doujinshika---at least at this sort of amateur level---are often very leery of publicity. This might be a reaction to the arrests of several doujinshika in apparently random, token copyright enforcement cases in recent years (such as the infamous Pokemon doujinshika incident), or it might simply be a sign of how negatively "fringe" behavior is viewed in Japanese society
  • Snape is gorgeous---or at least that's what the djka at this show seemed to believe.
  • Doujinshika are infamous for "prettifying" real-life (or real-text) actors/characters, and who can blame them?
  • ...6 more annotations...
  • it's how Snape is depicted emotionally that's most telling on a cross-cultural level.
  • None of the doujinshi that I saw on the Snape side of the event depicted Angsty!Snape. Or Traumatized!Snape, or for that matter Unhappy!Snape. Instead, almost all of the books showed variations on the same thing: Cranky!Snape.
  • I've been told repeatedly that Japan just doesn't do psychology---certainly not to the same dogged degree as the West.
  • Western Fanfic Snape is physically attractive but brooding, miserable, and emotionally damaged. Japanese Doujinshi Snape is physically attractive and cranky because he's surrounded by horny goofballs.
  • Still, it was interesting to see so many similarities of concept and characterization between Japanese writers and Westerners Sirius/Remus 'shippers.
  • The only real difference I can see between the Japanese depictions and the Western is that sense of ominousness I mentioned. The majority of Western Sirius/Remus 'fics I've read have been hopeful/positive in tone.
Nele Noppe

Literary Openness: A Bridge across the Divide between Chinese and Western Literary Thought - 0 views

74.125.155.132/scholar

umberto_eco open_work literature china cross-cultural fanficforensics phd

shared by Nele Noppe on 17 Jan 10 - No Cached
  • Nele Noppe on 17 Jan 10
     
    Associations between open work and chinese literary theory
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