Fanart as craft and the creation of culture - 0 views
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, these young people enact relationships to the subject and process of fanart making, fellow fanartists and the fan community that are not unlike those of the medieval European craftsman to his craft, guild workshop and community. Appreciation of local and global aesthetics is quickened, and a desire to develop a high level of skill is inspired.
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personally relevant content
Electronic Literature: What is it? - 0 views
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the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works.
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"literature" has always been a contested category.
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To see electronic literature only through the lens of print is, in a significant sense, not to see it at all.
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DIY Media - 0 views
Objectivity - 0 views
Martha Woodmansee - The Author, Art, and the Market: Rereading the History of Aesthetic... - 0 views
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What, given these circumstances, was a "high culture" author to do as his/her books piled up unsold in boxes at the press? As Martha Woodmansee shows in her very insightful and elegantly written account of the history of eighteenth-century German aesthetic theory, The Author, Art, and the Market, they set out to exorcise these ghosts from the sphere of "true" or "fine" art. Turning to the material conditions that underlie and prompt the re-evaluation of art by these theorists, Woodmansee details
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Mendelssohn, writing in mid-century, argued that the singular purpose of a work of art was to have an effect on its audience and hence ought to be evaluated by its ability to move us. Three decades later Mendelssohn's pupil, Moritz, broke away from his teacher's enormously influential theories, removing art from the constraints of affectivity to which it had been subjected and arguing instead for its existence sui generis, responsible only for being a "coherent harmonious whole" (quoted on p. 18). Woodmansee explains this remarkable shift from Mendelssohn's theory of artistic instrumentality to Moritz's theory of artistic autonomy through an examination of the "far-reaching changes in the production, distribution, and consumption of reading material that marked the later eighteenth century" (p. 32).
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too many readers . . . reading too many of the wrong books for the wrong reasons and with altogether the wrong results" (p. 90). Moritz responds to this problem by "rescuing" art from the market and making a virtue of necessity: bad sales become the hallmark of "good" art.
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Homosexuality and Manliness in Postwar Japan - 0 views
Designing Incentives for Crowdsourcing Workers | The CrowdFlower Blog - 0 views
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