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Nele Noppe

Creative Industries - 0 views

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

open_work literature internet copyright fanficforensics phd

shared by Nele Noppe on 17 Jan 10 - No Cached
  • Nele Noppe on 17 Jan 10
     
    by John Hartley, to read
Nele Noppe

McLuhan Studies Premiere Issue: Eco's Prophetic Vision of Mass Culture - 0 views

www.chass.utoronto.ca/...1_1art10.htm

umberto_eco open_work literature pop_culture fanficforensics phd

shared by Nele Noppe on 15 Jan 10 - Cached
  • Even in his first essays in the sixties, the author's approach to reading, interpreting and commenting on culture could already be seen as that of a semiotician who had not yet adopted the technical jargon of the discipline. In fact, it would not be too far-fetched to consider the Eco of the sixties as essentially a young Adso (see the discussions on reading signs betwen William and Adso in The Name of the Rose) ready to learn about semiotics from the right mentor. We must also remember that as soon as Eco no longer feels satisfied by the early writings of French semioticians and structuralists like Barthes and Levi-Strauss, he turns to the studies of Jakobson and Peirce on the science of signs.
  • Also, few intellectuals can match Eco's great interdisciplinary skills.
  • In general, Eco's critics (most of them academic) have suggested that he is successful because he publishes trendy books.
Nele Noppe

Painting Words and Worlds - 0 views

www.eastasiareview.org/...Lewis_Mia.pdf

academic manga clamp language narrative characters shojo_manga phd

shared by Nele Noppe on 25 May 10 - No Cached
  • Nele Noppe on 25 May 10
     
    is study explores wordplay in the works of CLAMP, a popular Japanese mangaka (comic artist) group. Specically, it examines CLAMP's use of ateji, the pairing of kanji (Chinese characters) and furigana (a reading gloss) with dierent meanings. is allows two dierent words to become one, cre- ating meanings that transcend words' literal denitions. Original research on ateji in six dierent manga zasshi (comic magazines) and three of CLAMP's works-Cardcaptor Sakura, Tsubasa: RESERVoir CHRoNiCLE, and Clover-identies ve distinct ateji techniques. is study focuses on the way these techniques are employed by CLAMP to express complex ideas, develop plot, and portray characters. As a technique embedded within the Japanese language, the implications of ateji use in manga extend beyond the medium of comics, pointing to shifting trends in the language as a whole.
Nele Noppe

Website Nico Nico Douga goes live ... house | The Japan Times Online - 0 views

search.japantimes.co.jp/...fm20110714a2.html

video nico_nico_douga architecture interactive comments music performance

shared by Nele Noppe on 14 Jul 11 - No Cached
  • Nele Noppe on 14 Jul 11
     
    With the use of AR, the altering of real-world environments on screen by computer-generated imagery, Web surfers watching the action from their laptops will see an altogether different scene than those who are physically present at Nicofarre. Bands will play virtual instruments, J-pop idols will perform with anime characters - they'll even be able to see hearts or lightning-bolts fly out of a soloist's guitar similar to scenes from the film "Scott Pilgrim vs. The World." What makes this venue special however, is the level of interaction between those at the club and the online viewers. Those watching online can type in comments that are then scrolled in real time on the wall-screens of the main hall, which creates an uncanny sense of connection between the two audiences. The fact that comments are displayed live adds a daring element of freedom, as there is no way to control what is written and therefore put up for all to read. Although the venue's concept has virtually unlimited potential, what could hold Nicofarre back is the video quality. Being a large-scale setup, the spaces between the individual bulbs make the images indiscernible when standing too close. And judging from opening-night headliners, K-pop boy band Tohoshinki and local J-pop phenomenon AKB48, it looks like the club is not courting the usual live-house or clubbing crowd. Musical tastes aside though, the venue is undoubtedly at the cutting edge of "live" entertainment in Japan, and is well worth checking out.
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

Repackaging fan culture: The regifting economy of ancillary content models | Scott | Tr... - 1 views

journal.transformativeworks.org/...122

gift_economy law fans fanwork

shared by Nele Noppe on 24 Nov 10 - No Cached
  • n particular, recent work on online gift economies has acknowledged the inability to engage with gift economies and commodity culture as disparate systems, as commodity culture begins selectively appropriating the gift economy's ethos for its own economic gain.
  • My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom's gift economy and focus on flagrant instances of the industry's attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift economies aren't being met with an equivalent volume of discussion or scrutiny.
  • There are a number of important reasons why fandom (and those who study it) continue to construct gift and commercial models as discrete economic spheres. This strategic definition of fandom as a gift economy serves as a defensive front to impede encroaching industrial factions. H
  • ...30 more annotations...
  • at the heart of this anticommercial requirement of fan works is fans' fear that they will be sued by producers of content for copyright violation"
  • Thus, there is both a legal and social imperative to view fandom as transforming the objects of commodity culture into gifts, a transformative process "where value gets transformed into worth, where what has a price becomes priceless, where economic investment gives way to sentimental investment" (Jenkins et al. 2009b), and where bonds of community are formed and strengthened.
  • For other scholars, who foresee the commercialization of fandom's gift economy as an alternately unnerving and empowering inevitability, the possibility of fans monetizing their own modes of production is posed as an alternate form of preemptive "protection."
  • though monetizing fan practice to preserve the underlying ideals of fandom's gift economy might seem counterintuitive,
  • Richard Barbrook, reflecting back on his 1998 essay "The Hi-Tech Gift Economy" in 2005, acknowledges that constructing commodity culture and gift economies in binary terms is problematic.
  • commodity economies and gift economies are always already enmeshed,
  • Although De Kosnik asserts that "the existence of commercial markets for goods does not typically eliminate parallel gift economies"
  • Media producers, primarily through the lure of "gifted" ancillary content aimed at fans through official Web sites, are rapidly perfecting a mixed economy that obscures its commercial imperatives through a calculated adoption of fandom's gift economy, its sense of community, and the promise of participation.
  • The regifting economy that is emerging, I argue, is the result of the industry's careful cultivation of a parallel fan space alongside grassroots formations of fandom.
  • regifting economy is meant to synthesize the negative social connotations tied to the practice of regifting with a brief analysis of why acafans and existing fan communities should be aware and critical of these planned communities and their purpose as a site of initiation for the next generation of fans.
  • Henry Jenkins and others (2009a), adopting the term moral economy from social historian E. P. Thompson and questioning its applicability to the exchange of digital media, state that the moral economy is "governed by an implicit set of understandings about what is 'right' or 'legitimate' for each player to do."
  • the social stigmas attached to regifting are rooted in the act's inherent subterfuge, breaking the rules of the moral economy by masking something old as something new, something unwanted as desirable. If "the cardinal difference between gift and commodity exchange [is] that a gift establishes a feeling-bond between two people" (Hyde 1983:57), then "we cannot really become bound to those who give us false gifts" (70).
  • This construction of men as agents of capitalism with no understanding of the (frequently feminized) gift economy or its functioning continues to be evoked in anxieties surrounding the masculine/corporate exploitation of female fan communities and their texts.
  • media producers pushing these ancillary content models as the "white man keepers" of online fan culture who have failed to understand that it is the reciprocity and free circulation of fan works within female fan communities that identifies them as communities.
  • restricting the circulation o
  • its unrestricted movement.
  • Positioned precariously between official/commercial transmedia storytelling systems (Jenkins 2006:93–130) and the unofficial/gifted exchange of texts within fandom, ancillary content models downplay their commercial infrastructure by adopting the guise of a gift economy, vocally claiming that their goal is simply to give fans more—more "free" content, more access to the show's creative team. The rhetoric of gifting that accompanies ancillary content models, and the accompanying drive to create a community founded on this "gifted" content, is arguably more concerned with creating alternative revenue streams for the failing commercial model of television than it is with fostering a fan community or encouraging fan practices.
  • By regifting a version of participatory fan culture to a general audience unfamiliar with fandom's gift economy, these planned communities attempt to repackage fan culture, masking something old as something new
  • Although it could be argued that fandom also polices its boundaries and subjects, its motivations for doing so are ultimately about protecting, rather than controlling, the ideological diversity of fannish responses to the text. As Hellekson (2009) notes, "learning how to engage [with fandom and its gift economy] is part of the initiation, the us versus them, the fan versus the nonfan."
  • Although fandom responds to its own mainstreaming within convergence culture by fortifying its borders and rites of initiation, ancillary content models are opening their doors to casual viewers unfamiliar with what fandom has historically valued and how it functions
  • Whether or not ancillary content models are being actively deployed as a device to rein in and control fandom, they are serving as a potential gateway to fandom for mainstream audiences, and they are pointedly offering a warped version of fandom's gift economy that equates consumption and canonical mastery with community.
  • As this example suggests, ancillary content models offer few incentives for fans already enmeshed in grassroots creative fan communities to contribute, and there is consequently less opportunity for participants to be exposed to and initiated into those fan communities.
  • More frequently than not, fannish participation is restricted to enunciative forms of fan production (Fiske 1992:38), such as posting to message boards and the collaborative construction of the show's wiki.
  • The result, according to Kristina Busse (2006), is that "certain groups of fans can become legit if and only if they follow certain ideas, don't become too rebellious, too pornographic, don't read too much against the grain."
  • Perhaps one of the central reasons why fans continue to cast a wary eye at these planned communities and their construction of a "legitimate" fandom is because they recognize the gifts being given mass audiences as their own.
  • spectacular case that potentially overshadows more covert examples.
  • male fans have historically sought professional status or financial compensation for their creative works more frequently than their female counterparts
  • media producers shape their definition of an ideal fandom, it is increasingly one that is defined as fanboy specific, or one that teaches its users to consume and create in a fanboyish manner by acknowledging some genres of fan production and obscuring others.
  • ancillary content models
  • Given the long, gendered history of fan communities and their relationship with producers, and the frequent alignment of gift economies with "feminine" forms of social exchange
Nele Noppe

Knock it off: Global treaty against media piracy won't work in Asia | Full Page - 0 views

www.sfgate.com/...article.cgi

copyright law asia politics

shared by Nele Noppe on 27 Nov 10 - No Cached
  • That's because in Asia, "intellectual property" as we think of it is an alien concept, recently imported from the West and hastily transplanted with limited success at best. "It's almost like there's an institutional disrespect for copyright in Asia," says Seung Bak, cofounder of the video streaming startup DramaFever, which brings free, English-subtitled Asian television to U.S. audiences. "People feel like, 'If I can't touch it, why should I have to pay for it?'"
  • But Lam points out that things are fundamentally different now. For one, hardware used to be differentiated by where it was manufactured.
  • You have name-brand stuff and knockoff stuff being made side by side, maybe even coming off the same assembly line."
  • ...11 more annotations...
  • Indeed, an entire consumer subculture has sprung up around counterfeit goods in China, what Chinese refer to as shanzhai or, literally, "mountain village" products (the name comes from the fact that, in ancient times, bandits would often build their redoubts in high passes, out of reach of the short arm of the law). Though its name suggests something remote and marginal, in reality shanzhai is now a mainstream phenomenon. It's estimated, for instance, that one of every five cellphones produced in China -- some 150 million devices -- are shanzhai.
  • One could argue that, by duplicating existing feature sets while striving to offer more, shanzhai may actually be driving innovation (of sorts), contrary to the argument made by those who suggest that without airtight and infinitely extended IP protection, there's no incentive for the development of groundbreaking new products and technologies. Of course, the truth is somewhere in between. Not all of the "innovations" of shanzhai products are particularly useful (one shanzhai Blackberry Pearl clone offers a built-in electric razor, for instance). But the knockoffs have certainly exerted downward pressure on price, forced major brands to compete on quality and service, as opposed to perceived prestige and appearance, and derailed artificial constraints imposed by manufacturers and governments that are ultimately harmful to consumers.
  • Which explains why, when Apple finally partnered with China Unicom to officially introduce the iPhone to the market earlier this month, the response was tepid at best: The official iPhone was crippled at launch (its WiFi connectivity disabled by government mandate), cost a cool grand and was locked to the Unicom network. "The rumor -- it's all water cooler gossip at this point -- is that they sold around 5,000 units in the first week," says Lam. "That's a shockingly low number. But you have to consider that anyone who's wanted an iPhone in China has been able to get one for years now, unlocked, fully functional, at a cheaper price. The 'official' launch is meaningless -- the unofficial launch happened so long ago that no one even cares." The estimated tally of grey-market iPhones in use in China? More than 1.5 million.
  • in today's frictionless global market it's harder to put barriers between consumers and the stuff they want. If something is available anywhere, people can get it everywhere.
  • Welcome to contemporary Korea, where a titanic digital public works program in the '90s resulted in 85 percent of the population having home broadband access that's faster than anything commercially available in the U.S. "What they think is normal in Seoul is vastly different from what we think is normal here -- the stuff we read about in Popular Science, they take for granted," says DramaFever's Seung Bak. "A show will air on TV, and 10 minutes later it'll be uploaded in HD quality to a sharing site where anyone can download it in about 10 seconds." So Korea can be thought of as something of a laboratory for the future of digital media, because it's just a matter of time before the rest of the world's bandwidth catches up.
  • Call it the can't-beat-'em, might-as-well-join-'em syndrome. Strict enforcement has prompted an endless game of whack-a-mole, with pirates moving on to new platforms as their old ones are shut down. But by giving filesharers and sharing platform operators incentives to offer legal, licensed services -- while ensuring that the user experience their audiences have been drawn to remains the same -- a solution emerges that might just allow everyone to benefit.
  • Two strokes of good fortune helped CrunchyRoll survive, both occurring in the fall of 2008. The first was the cable channel Cartoon Network's surprising decision to cancel its venerable Toonami programming block -- for years one of the most reliable sources of anime on broadcast television. The second was an unique deal the company was able to negotiate with TV Tokyo, the broadcaster that airs more anime than any other Japanese network. "TV Tokyo controls 40 percent of Japan's anime series, and we were able to get them to agree to let us put episodes of their shows up on our site within one hour of broadcast," says Gao. "Not even Hulu can do that. It effectively means that we're the 'first window' for content. And the reason they agreed is that they know we're growing their audience: We're getting them viewers they'd never be able to access on their own."
  • The deal prompted other broadcasters to fall in line. Now, CrunchyRoll simulcasts English-subtitled editions of 20 out of the 40 anime programs currently on the air in Japan. Free programming is bookended with advertising; a premium option costing as little as $5 a month eliminates the ads, provides access to high-definition content and subscriber-only programming, and puts a little premium member badge on a user's profile. "That's more important than you'd think," says Gao. "One of the things we realized early on was that CrunchyRoll isn't just a video sharing site, it's a social network for fans of Japanese animation. The little badge is social proof that you're a real supporter of the site."
  • That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions.
  • "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says.
  • "Japanese tend to resolve things in extralegal fashion, whereas in the U.S., Disney will send out a whole battalion of lawyers," notes manga historian Fred Schodt. "It's not an exaggeration to say that much of the current state of U.S. copyright law has come about due to Disney's efforts to keep Mickey Mouse from falling into the public domain."
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

Japan, Ink: Inside the Manga Industrial Complex - 0 views

www.wired.com/...ff_manga

anime dojinshi fans fanwork manga manga_industry fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Manga sales in the US have tripled in the past four years.
  • Europe has caught the bug, too. In the United Kingdom, the Catholic Church is using manga to recruit new priests. One British publisher, in an effort to hippify a national franchise, has begun issuing manga versions of Shakespeare's plays, including a Romeo and Juliet that reimagines the Montagues and Capulets as rival yakuza families in Tokyo.
  • Circulation of the country's weekly comic magazines, the essential entry point for any manga series, has fallen by about half over the last decade.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      malaise in commerciële industrie
  • ...23 more annotations...
  • Fans and critics complain that manga — which emerged in the years after World War II as an edgy, uniquely Japanese art form — has become as homogenized and risk-averse as the limpest Hollywood blockbuster.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      belang zelfexpressie, vrijheid in dojinshi
  • The place is pulsing with possibility, full of inspired creators, ravenous fans, and wads of yen changing hands. It represents a dynamic force
  • future business model of music, movies, and media of every kind.
  • Nearly every aspect of cultural production — which is now Japan's most influential export — is rooted in manga.
  • Comics occupy the center, feeding the rest of the media system.
  • About 90 percent of the material for sale — how to put this — borrows liberally from existing works.
  • Japanese copyright law is just as restrictive as its American cousin, if not more so.
  • known as "circles" even if they have only one member
  • by day's end, some 300,000 books sold in cash transactions totaling more than $1 million
  • "This is something that satisfies the fans," Ichikawa said. "The publishers understand that this does not diminish the sales of the original product but may increase them.
  • As recently as a decade ago, he told me, creators of popular commercial works sometimes cracked down on their dojinshi counterparts at Super Comic City. "But these days," he said, "you don't really hear about that many publishers stopping them."
  • "unspoken, implicit agreement."
  • "The dojinshi are creating a market base, and that market base is naturally drawn to the original work," he said. Then, gesturing to the convention floor, he added, "This is where we're finding the next generation of authors.
  • They tacitly agree not to go too far — to produce work only in limited editions and to avoid selling so many copies that they risk cannibalizing the market for original works.
  • It's also a business model
  • He opened Mandarake 27 years ago, well before the dojinshi markets began growing more popular — in part to provide another sales channel for the work coming out of them. At first, publishers were none too pleased with his new venture. "You think I didn't hear from them?" he tells me in a company conference room. But in the past five years, he says, as the scale and reach of the markets has expanded, the publishers' attitude "has changed 180 degrees." It's all a matter of business, he says.
  • triangle. "You have the authors up there at this tiny little tip at the top. And at the bottom," he says, drawing a line just above the widening base of the triangle, "you have the readers. The dojin artists are the ones connecting them in the middle."
  • The dojinshi devotees are manga's fiercest fans.
  • provides publishers with extremely cheap market research
  • the manga industrial complex is ignoring a law designed to protect its own commercial interests.
  • Intellectual property laws were crafted for a read-only culture.
  • the copyright winds in the US have been blowing in the opposite direction — toward longer and stricter protections. It is hard to imagine Hollywood, Nashville, and New York agreeing to scale back legal protection in order to release the creative impulses of super-empowered fans, when the gains from doing so are for now only theoretical.
  • mutually assured destruction. What that accommodation lacks in legal clarity, it makes up for in commercial pragmatism.
Nele Noppe

Fanfic Symposium: Cross Fertilization of Fan and Professional Writing - 0 views

www.trickster.org/...symp94.html

fan_fiction language literature narrative fanficforensics phd

shared by Nele Noppe on 19 Aug 08 - Cached
  • The prevalence of such curious language use led me to think that fan-writers must have influenced one another’s diction because they read so much of one another’s writing, with the result that they incorporated the idiosyncratic as the norm.
  • These are only surface manifestations.  There are deeper phenomena.  The foremost is that the world inhabited by the characters in some fan fiction reflects the limited experiences of the writers. 
  • There is nothing wrong with this if the characters are from the American middle class.  Unfortunately, many popular shows feature people not acculturated in such a milieu—Methos, Duncan MacCleod of the Clan MacCleod, Benton Fraser, Harry Potter, Snape, Tom Paris, Chakotay, Obi-Wan, Qui-Gon. . . .  Consequently, the specter of these characters spouting psychobabble is disconcerting, to say the very least.
Nele Noppe

Exactly which 'academics' are getting which fandom riled up? - 0 views

wemyss.livejournal.com/149288.html

academia fandom fans fanficforensics phd

shared by Nele Noppe on 29 Oct 08 - Cached
  • As far as one can make out from the current squabble in other fandoms, it is not academics as such who are disregarded or disdained by other fen.  It is, almost exclusively, the Faculty of English Language and Literature who have made themselves unwelcome.  This seems to me significant.  It seems to me more significant still that it is, so far as I can determine, primarily American dons of Frenchified theoretical leanings who are making themselves unpopular with the mass of fandom.  I mean, if the academic fen in question were, say, Womersley of St Catz, Shrimpton of LMH, or Turner of Jesus, let alone Jenkyns of LMH, I shouldn’t expect the same quarrel to have arisen. My primary point is simply that this seems not to be a case in other fandoms of something I’ve never seen and don’t anticipate seeing in mine: of ‘the revolting peasants rising against their intellectual superiors’ or of ‘all academics sucking the soul out of fandom like so many Dementors’, which appear to be the two rallying cries here.  One simply doesn’t observe this sort of anger’s attaching to historians or those who read Law at university or even to wild-eyed, Balliol-Wadham-and-Grauniadista sociologists and anthropologists, at least not in my fandom.  Therefore, I submit that it is misleading and contrary to resolution of the quarrel to cast it in terms of all fen in all fandoms against all academics of all schools of thought.
Nele Noppe

Different attitudes in different fandoms - 0 views

accioslash.livejournal.com/87877.html

fandom fans harry_potter fanficforensics phd

shared by Nele Noppe on 29 Oct 08 - Cached
  • I've been spending a lot more time lately dipping my toes back into old slash fandom waters and it makes me wonder if the general attitude of "it's all good" that I see in the HP fandom has spoiled me for participation in some of the other fandoms. Especially the fandoms where the fen seem to be older (late 40's and up). I'm fine as long as I just read fics, but when I try to interact with some of the fen I often feel like I've gone back in time. Especially when talking about gay sex.
Nele Noppe

On Creativity In Fandom - 0 views

rizny.livejournal.com/30198.html

creativity fandom fanficforensics phd

shared by Nele Noppe on 22 Oct 08 - Cached
  • First, Epstein, a psychologist, has found that there are four different skill sets that he says are essential for creative expression.
  • The first and most important competency is "capturing" - preserving new ideas as they occur to you and doing so without judging them. ...
  • The third area is "broadening." The more diverse your knowledge, the more interesting the interconnections - so you can boost your creativity simply by learning interesting new things.
  • ...4 more annotations...
  • The second competency is called "challenging" - giving ourselves tough problems to solve.
  • And the last competency is "surrounding," which has to do with how you manage your physical and social environments. The more interesting and diverse the things and people around you, the more interesting your own ideas become.
  • The similarities to fandom activity struck me as soon as I first read this.
  • In other words, failure actually stimulates creativity directly. It really is valuable.
Nele Noppe

In Which Rolanni Flails About - 0 views

rolanni.livejournal.com/364971.html

academia fandom fanficforensics phd

shared by Nele Noppe on 22 Oct 08 - Cached
  • I'm just as firmly in the "oh, youbetcha academia is the enemy" side of the road.
  • What seems not to be understood is that academics don't study and write articles in order to Validate the object of their study. Academics study and write articles in order to Validate themselves. As more and more people become academics, they must look further and further afield for subjects, and lo! suddenly Science Fiction isn't genre trash anymore; it's a way to secure tenure.
  • The message that many take away from their English teachers is that the only Right Way to read is by the Analysis Method, and yanno? after a long day? Much too fatiguing. Wanna watch a Jackie Chan movie?
Nele Noppe

Fan-readings from my essay collection "Content" - 0 views

www.boingboing.net/...fanreadings-from-my.html

research academic fanwork fan_fiction fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Nele Noppe on 02 Nov 08
     
    Now that's distribution ;)
Nele Noppe

Participation, Reciprocity and Generosity in Art: On Open Work by Umberto Eco - 1 views

distributedcreativity.typepad.com/...post.html

open_work umberto_eco fanficforensics phd

shared by Nele Noppe on 10 Oct 08 - Cached
  • Eco distinguishes between the concept within aesthetic theory that every text is more or less open, because every text can be read in an infinite number of ways depending on what the reader brings to the text, and his more specific concept of the open work.
  • As examples
  • He also cites texts which on the surface are more traditional.
  • ...7 more annotations...
  • “In Opera Aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Those works of literature that limit potential understanding to a single, unequivocal line are the least rewarding, while those that are most open, most active between mind and society and line, are the most lively (and, although valorizing terminology is not his business, best)
  • What the preceding entry leaves out is the historical context in which Eco puts openness. He feels that this type of work, open work, is the work of his age.
  • A sub-category of open work is work in movement which he describes as works which “characteristically consist of unplanned or physically incomplete structural units.”
  • Eco sees open work as essentially political; work that is open expresses a pluralistic worldview.
  • Work which is calling into question its own forms and assumptions has a valuable function – it teaches us how to operate with agency within a highly mediated world.
  • 1) Eco sees science as driving the worldview of an age, to which art responds
  • Forty or more years after the essays in The Open Work were written do we live in a world where the openness of our habits of interpretation makes the openness of the text less crucial?
Nele Noppe

Everybody's Fujoshi Girlfriend - 0 views

neojaponisme.com/...everybodys-fujoshi-girlfriend

non-academic fans akihabara fujoshi media gender fanficforensics phd

shared by Nele Noppe on 22 Jun 09 - Cached
  • Media treatment of the fujoshi concept has always been problematic.
  • As a result, when media attention eventually turned to actual fujoshi, the elevator pitch — “They’re otaku, except girls!” — was more or less accurate (granting a broad reading of “otaku”), but the implications were misunderstood. If fujoshi were girl otaku, they must be the girls usually appearing alongside otaku in those TV specials and magazine articles, right? You know — the maids. But no.
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