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Nele Noppe

Doujin Work's Hiroyuki to Oversee New Collaborative Comic Gear Mag - 0 views

www.animenewsnetwork.com/...-to-oversee-new-comic-gear-mag

non-academic manga manga_industry dojinshi fanficforensics phd

shared by Nele Noppe on 15 Jun 09 - Cached
  • However, Hiroyuki is vowing that all the manga creators in Comic Gear will be working together in the same studio everyday. Hiroyuki hopes that this work environment will encourage more collaboration between fellow manga creators so they can trade tips on techniques and share their knowledge. Hiroyuki also hopes that this environment will foster new talent by having more experienced creators mentor previously unpublished creators "from morning to night" about developing story and characters.
Nele Noppe

Creativity in amateur multimedia: Popular culture, critical theory, and HCI - 0 views

74.125.155.132/scholar

amateur_professional fans internet presentation_cwwc creativity open_source theory HCI openness machinima games technology authors communal medium technological_determinism visual_language phd

shared by Nele Noppe on 23 Feb 10 - Cached
  • Today, especially in academic circles, this pop culture phenomenon is little recognized and even less understood.
  • These analyses reveal relationships among emerging amateur multimedia aesthetics, common software authoring tools, and the three theorizations of creativity discussed
    • Nele Noppe
      Nele Noppe on 23 Feb 10
       
      VERBAND FANWERK - OPEN SOURCE
  • This paper explores the enabling factors, especially the role of multimedia authoring tools, in the recent explosion of amateur multimedia.
  • ...23 more annotations...
  • Yet control over popular culture by mass media is clearly eroding
  • HCI practitioners have explored how software interfaces can enhance and support users in general and creativity in particular. Its analytical tools for examining the relationships between tools and a concrete group of users vis-à-vis a well-defined explication of tasks both solve and create problems. The ability to specify these relationships explicitly greatly facilitates the design of systems; yet that same explicit specificity also defines creativity a priori in cybernetic terms more friendly to computers than to the culturally diverse and rich practice of creativity
  • Critical theory—an umbrella term that encompasses literary theory, continental philosophy, and communication theory, among others—offers sophisticated theoretical resources for the study of cultural artifacts and their use in the communities that create them. Many of these theories ground themselves in the materiality of the cultural artifacts they study; yet the material layer for which these theories were once developed were largely textual. The movement of cultural artifacts from the physical to digital poses a deep challenge (and some risk) for critics studying digital media with these theories
  • this paper investigates three relevant traditions of theory that address these overlaps: HCI, poststructuralism, and theories of technological determinism, especially in media.
  • Creativity—its nature, conditions of possibility, inputs and outputs, and processes—plays a major role in virtually all academic, professional, and artistic domains. As a result, it is heavily, and heterogeneously, theorized.
  • Genealogically, HCI developed alongside cognitive science and computer science, and was most often put in service of professional productivity software.
  • HCI often characterizes creativity in rationalistic, intentional, and scientific ways. For example, Schneiderman (2002, 2003) proposes a creativity framework for, in his words, “generating excellence” with four parts: collect, relate, create, and donate. With it, he hopes to capture the social, iterative, associational, and distributional characteristics of creativity, especially as described by cognitive science. Evident in this perspective is an effort to model creativity, which is seen as a social activity, with certain structural features that take place in environments conducive to creativity.
  • All of this is in service of what Schneiderman calls “evolutionary creativity,” which he illustrates as follows:“doctors making cancer diagnoses, lawyers preparing briefs, or photo editors producing magazine stories”(2002, p. 238). Here, Page 17 Creativity in Amateur Multimedia 15 and pervasive throughout the essay, Schneiderman’s notion of creativity appears to be paraphrasable as professional innovation: His interest is not artistic self-expression and, as we shall see, he is not alone in understanding creativity in terms of professional discourses
  • Again, creativity is understood as it relates to professional discourses, in this case the discourse of art history and its pedagogical presentation to museum-goers. Even analyses of group creativity in HCI contexts that seek to go beyond rationalist- individualist notions of creativity nonetheless operate in a rationalist mode.
  • The notion of creativity that emerges from these mainstream HCI essays places its agency primarily in the intentional activity of the individual (though the individual is presumably a member of relevant groups). It sees the ecology of creativity as a community of expert practice comprising research, dialogue, and artifact exchange, facilitated by social and computer environments that forgivingly compel an iterative and basically scientific (correctness, discrete information, classification, hypothesis) approach toward truth.
  • The role of the author-function is, among other things, to control the polyvalence intrinsic to texts, such that the author, rather than performing the creative role of bringing the text into the world, performs the role of constraining the meaning of the text within a society.
  • (Foucault, 1969/2000, p. 206). Therefore, writing is a destabilizing force that threatens to transform the discourse in which it operates and to swallow up its own author. It is important to remember that Foucault is not limiting his analysis to literary texts; he explicitly includes scientific and academic writing,
  • In this conceptualization of writing, creativity occurs at the level of discursive rule- transgressing. The role of the historical human in this process is greatly diminished, not because humans are not involved in textual production, but because the individual is at the wrong level of granularity for analysis. A given historical individual authoring discourse does so within complex interactions involving several selves and the clash of languages
  • Related, but not identical, to Foucault’s notion of authorship are theories of “intertextuality” put forward by Julia Kristeva and Roland Barthes. Intertextuality is the notion Page 19 Creativity in Amateur Multimedia 17 that a text is a “tissue” of (mis) quotations from other texts, considered to be more than mere collages, but transformative, of the sign systems from which they are derived (McAfee, 2004)
  • Creativity’s agency lies in the juxtaposition of sign systems (in which authorial identities are implicated), which occurs in the context of play, and results in artifacts that are significant not for what they say, but for the ways they materially contribute to the generative capacity of the discursive rule-set from which they operate.
  • Perhaps the foremost theorist of technological determinism is Jacques Ellul (1964/2003, 1980/2003), who argues that individuals, science, and government are all “conditioned” by technology.
  • Like Schneiderman (2002, 2003) and Foucault (1969/2000), Ellul (1964/2003, 1980/2003), too, is making claims about the origins and generation of knowledge in scientific discourses, but he situates the agency in the fierce pressures of technology as it overwhelms and often replaces the comparatively meek procedures of science and governance
  • As a result, according to Benjamin, our cognitive experience of the art also changes; whereas painting allows spectators to control their own stream of consciousness and reflect on what they see, cinema’s moving images disrupt association and contemplation, dominating viewers’ thoughts.
  • Benjamin’s (1936/1968) arguments are developed further by self-described technological determinist Marshall McLuhan, whose claim that “the medium is the message”(1964/2003) characterizes media as “extensions of ourselves” that “alter sense ratios or patterns of perception steadily and without any resistance”(p. 31).
  • For Manovich, the emergence of new visual languages is enabled not by an iterative, rational approach to innovation, as cognitive science might suggest; neither does it emerge from an evolutionary history of discursive transgression, as a poststructuralist approach might suggest 10. Rather, it is made possible by certain forms of productive convenience built into authoring tools that unleash visual languages and cultural logics that exceed any human intention, whether at the level of the individual or the group of experts.
  • To answer this question, it is useful to consider what the three traditions share in common. All consider creativity in the context of professionalism and knowledge production. Creativity is not simply about painting a pretty new picture or expressing a personal emotion; it contributes to discourses about the world and our place in it. All three traditions also understand creativity as situated within systems—networks of software-supported experts, discursive sign systems, or systems of production and consumption. All of these implicitly reject romantic notions of the individual creative genius and pure self-expression; implied in this is a rejection or at least dilution of individual intention as the prime mover of creativity
  • Questions one might ask include the following: What are the social and technical conditions or structures necessary for the generation of these artifacts? What is the discourse of amateur multimedia? What is the minimal unit of meaning? In what ways does its production establish relationships between authors, viewers, technologies, meaning, and ideology?
  • A key first step is to understand how creativity is implemented in multimedia authoring software. Each program has ways it encourages authors to work. For example, Photoshop greatly rewards users who take advantage of layers, opening up avenues of possibility for compositing, nondestructive experimentation, and long-term editability. This in turn makes certain meanings (especially meanings created by the juxtapositions of spatial compositing) more easily realized than others. To what extent do contemporary authoring platforms encourage in the same ways (constituting and compelling a notion of digital creativity), or do different applications suggest different notions of digital creativity?
  • Nele Noppe on 23 Feb 10
     
    "1"
Nele Noppe

paceus: Textual Echoes: Nele Noppe and the 'open work' - 0 views

paceus.livejournal.com/114842.html

open_work research academia fanficforensics phd

shared by Nele Noppe on 17 Feb 10 - Cached
  • open source software
  • spirit of 'open work' is decentralised
  • Nina Työlahti
  • ...7 more annotations...
  • Kristina Busse talked about the myth of the author too
  • tv shows like SGA do certainly seem to require active participation from fans because the show is so flawed -- unrealistic, filled with plot holes, or otherwise unsatisfying and failing to meet my expectations of entertainment
  • file sharing and piracy
  • gift economy
  • This explanation doesn't cover fan writing and for example fanzines from the earlier decades though, since they didn't exactly have anything to do with the internet. Vidding, though, began as slide shows and continued with VCRs, so that was definitely connecting the format to what the vidders wanted to express.
  • legitimises fan works
  • remember their cultural specificity
  • Nele Noppe on 17 Feb 10
     
    A review of my TE presentation, yey
Nele Noppe

Abstracts - 0 views

www.mos.umu.se/...symposiumabstracts.htm

fans fan_fiction literature research fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • Different periods of literary and philosophical thought place emphasis more strongly on either continuity or originality, and thinkers of modernity often privileged originality and artistic genius as they laid the groundwork for a value system that still affects the landscape of contemporary popular culture.
  • Countering this ascribed modernist valuation of originality, postmodern theorists and artists have emphasized pastiche, appropriation, and intertextuality.
  • copyright laws and marketplace expectations have helped establish aesthetic discourses within fan communities that often mirror modernist emphases on originality and authenticity.
  • ...33 more annotations...
  • despite a cultural value placed on repetition, fandom still remains at least tenuously invested in more traditional notions of originality and uniqueness.
  • In contrast to Eliot's model of artistic genius, emphasizing originality and ownership of individual creativity, I’d like to foreground the fan community as a collective creative culture that values sharing, allusion, and repetition as aesthetic (and affective) choices.
  • Rhetoric is basically a pedagogical discipline comprising a number of pedagogical principles, where one is the principle of imitatio. According to the imitatio principle you have to, very actively, collect an arsenal of different strategies in the process of learning how to write and present a material.
  • With focus on imitatio and from perspectives such as genre, intertextuality, narratology, semiotics, we discuss the creation process of fan fiction in general and slash in particular.  
  • Further, and crucially, fic is a form of discourse that does not just analyse canon – it has the power to add to and change it as fanon and canon mix, encouraging ongoing reinterpretation and reframing of canon within the fanon/canon ‘verse as a whole.
  • Reading and writing fic remains a more popular online activity than taking part in meta discussion, but are the two activities so very different?
  • Harry Potter
  • from a close reading of a set of French potterfictions, my presentation will try to identify and compare the typical “scripts” used by the authors:
  • However, the various academic accounts written about yaoi have a tendency to pathologize yaoi as well as its female fans in terms of gender displacement, female sexual oppression, or sexual starvation.
  • how Queer Theory can assist the academic discussion of yaoi and slash, and counter the tendency to pathologize.
  • The British television show Torchwood has generated a vast amount of fan fiction. Among these stories are some which involve human-animal transformations.
  •   In this paper I intend to study how the human-animal transformations are described in a selected number of fanfic texts.
  • Can these stories be read as a comment on the relation between human and animal, or should the animal in this context rather be read as merely a symbol or a plot device?
  • Ludology, the academic study of games, has maintained a critical distinction that, fundamentally, a game cannot contain a narrative, as its focus is more oriented toward necessarily non-narrative interaction between the game and its players.  Fan fiction seems capable of exploding, or at least complicating, this claim, as the process of a writer’s active and creative engagement with a previously existing storyworld, expressed through fan fiction, appears clearly to meet the requirements both for a game,
  • close readings
  • In existing studies on fan fiction, it has been established that the majority of previous studies have been ethnographical or social in nature. Only very recently have studies on the literary aspects of fan fiction begun to emerge.
  • Harry Potter
  • helps us shorten the gap between literary practices of 'high' and 'low'.
  • Fan Fiction – ‘The Logical Extension’
  • The Love Song of T.S.Eliot and fandom  
  • Fan Fiction – as Dickens (Might) Have Written It
  • Redefining the EveryFan? Implicated reading and janeites on-line
  • Flexible Dancers: How Doctor Who fan fiction subverts and confirms the elements inherent in the romance novel genre
  • A Revamped Lover? The Limitations of the Romance Format in Black Dagger Brotherhood Slas
  • ”This Man Is My Friend – Nobody [Else] Touches Him”: Paris/Kim Fan Fiction from Star Trek: Voyager
  • Sex, power and kittens – human-animal transformations in Torchwood fan fiction
  • “It takes a real man to have a baby”: heterophobia or heteroflexibility in Supernatural mpreg
  • t fan fiction is a form of derivative or appropriative fiction
  • I suggest that we need to look toward tropes, the use of familiar plots, scenarios, and characterization as central organizing and generating principles for fan fiction communities.
  • yaoi and its Western fans are more receptive to a queer interpretation than slash and its fans are. Other key points raised by the research included fans’ rejection of ‘mainstream’ characterization of females, a strong awareness of legal and ethical issues and a desire to challenge contemporary accounts of ‘their’ fandom.  
  • Polish fans unlike their American or European colleagues are quite puritan.
  • Should the fan fiction writer be seen first and foremost as a reader, which is undoubtedly an essential role in fan fictions?
  • where a general rule is to stay true to the canon’s descriptions of characters,
Nele Noppe

Fan fiction - FSFwiki - 0 views

wiki.feministsf.net/index.php

feminism science_fiction fan_fiction copyright fanficforensics phd

shared by Nele Noppe on 02 Feb 10 - Cached
  • Because men majoritarily control the market economics, fan fiction becomes an alternative, sometimes central area of cultural production for women.
  • Men also produce fan fiction, but because their relationship to the market is different from women's, under the patriarchal mode of production, their fannish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but sexism necessarily colours the interactions between individuals and/or groups from each class.
Nele Noppe

SAMPLE REALITY · On Hacking and Unpacking My (Zotero) Library - 0 views

www.samplereality.com/...nd-unpacking-my-zotero-library

academia research zotero phd

shared by Nele Noppe on 19 Mar 10 - Cached
  • We’ve all had that experience of reading a journal article or — damn it! — a mother effing blog in which the author tackles clearly, succinctly and without pause some deep research concern that we’ve been pondering for years, waiting for it to blossom into a Beautiful Idea in our writing before going public with it. And POOF! somebody else says it first, and says it better. Keeping our sources private is the talisman against such deadly blows to our research, akin to some superstitious taboo against revealing first names. We academics are true believers in occult knowledge. To put it in the starkest terms possible: before I published my library I was concerned that someone might take a look at my sources and somehow reverse engineer my research. Let’s face it, I’m an English professor. It’s not as if I’m working on the Manhattan Project. Are we in the humanities really that ridiculous and self-important? Let’s face it, I’m an English professor. It’s not as if I’m working on the Manhattan Project. My teaching and research adds only infinitesimally incrementally to the storehouse of human knowledge.
  • I don’t mean to belittle what scholars in the humanities do à la Mark Bauerlein. On the contrary, I think that what we do — striving to understand human experience in a chaotic world — is so crucial that we need to share what we learn, every step along the way. Only then do all the lonely hours we spend tracing sources, reading, and writing make sense.
  • Nele Noppe on 19 Mar 10
     
    "We've all had that experience of reading a journal article or - damn it! - a mother effing blog in which the author tackles clearly, succinctly and without pause some deep research concern that we've been pondering for years, waiting for it to blossom into a Beautiful Idea in our writing before going public with it. And POOF! somebody else says it first, and says it better. Keeping our sources private is the talisman against such deadly blows to our research, akin to some superstitious taboo against revealing first names. We academics are true believers in occult knowledge. To put it in the starkest terms possible: before I published my library I was concerned that someone might take a look at my sources and somehow reverse engineer my research. Let's face it, I'm an English professor. It's not as if I'm working on the Manhattan Project. Are we in the humanities really that ridiculous and self-important? Let's face it, I'm an English professor. It's not as if I'm working on the Manhattan Project. My teaching and research adds only infinitesimally incrementally to the storehouse of human knowledge."
Nele Noppe

Useful Chemistry: Peer Review and Science2.0 Talk - 0 views

usefulchem.blogspot.com/...review-and-science20-talk.html

academia research open_notebook_science phd

shared by Nele Noppe on 28 Mar 10 - Cached
  • peer review alone is not capable of coping with the increasing flood of scientific information being generated and shared. I make arguments to show that providing sufficient proof for scientific findings does scale and weakens the tragedy of the trusted source cascade.
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