Skip to main content

Home/ Groups/ fanfic forensics
Rss Feed
Sort By: Most Recent | Popular Filter: All | Bookmarks | Topics Simple Middle
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

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
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

cupidsbow: Women/Writing 1: How Fanfiction Makes Us Poor, by cupidsbow - 0 views

cupidsbow.livejournal.com/239587.html

fans fan_fiction gender literature feminism fanficforensics phd

shared by Nele Noppe on 25 Jan 10 - Cached
  • feminist theory
  • is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
  • How to Suppress Women's Writing by Joanna Russ.
  • ...29 more annotations...
  • scratch the surface and the result of those practices is that women are seriously disadvantaged.
  • If the "wrong" people overcome the prohibitions and manage to write, the work is often made to vanish, usually through the ordinary, polite workings of class privilege. The widespread blindness to the work is based on illogical assumptions that are accepted as reasonable and never questioned. In fact, questioning the silence is considered rude and boorish,
  • certain topics are considered more important than others, based on an idea of how "universal" they are, and therefore art about them is innately more valuable.
  • that books can be misread due to assumptions about the author, so for instance, before Wuthering Heights was known to be written by a woman, it was considered by critics to be about the nature of evil, and afterwards, it was considered a romance.
  • [Pollution of Agency and the Double Standard of Content are clearly aspects related to the general contempt in which fanfiction is held by the wider writing community--it's just porn; it's all about men doing boring domestic stuff; they aren't even men, they're written like fourteen year old girls; only crazy, obsessive stalkers write that stuff; it's all so derivative and unoriginal, such a waste of talent.]
  • This is when works or authors are belittled by assigning them to the wrong category, or arranging categories so that all the "wrong" people don't fit the prestigious ones.
  • When a work by the "wrong" person actually makes it into the canon of Literature or Serious Art, it is only because they are one of a kind who produced this one thing out of the blue.
  • because successful women's writing is isolated from its influences, it is often accused of having a poor or informal style
  • Anomalousness.She wrote it, but there are very few of her.
  • Lack of Models.While it's clear that women don't write in a vacuum, the disappearance of so many "wrong" works from the mid- to long-term literary record means that each new generation of women artists has to find or make a new network of their own.
  • Responses.This is another fascinating chapter, which looks at the ways in which women have faced the silence and decided to write anyway.
  • Fanfiction writers may conceive of what is being made in different ways (art, craft, fun, porn, and so on), but there is no question, at least within the bounds of the subculture, that we can write! That is quite a different expectation to that of the wider world,
  • Aesthetics.This chapter discusses the impact of not having a visible female tradition on art in general. For a start, it means that many of the representations of women within art are deeply flawed, as they are based on stereotypes. It also means the hierarchy of art is skewed so that the "masculine" values are at the top, all others at the bottom, like so:"high art" [means] man, mankind, the individual man, individuality, humans, humanity, the human figure, humanism, civilization, culture, the Greeks, the Romans, the English, Christianity, spiritual transcendence, religion, nature, true form, science, logic, creativity, action, war, virility, violence, brutality, dynamism, power, and greatness.... "low art": Africans, Orientals, Persians, Slovaks, peasants, the lower classes, women, children, savages, pagans, sensuality, pleasure, decadence, chaos, anarchy, impotence, exotica, eroticism, artifice, tattoos, cosmetics, ornaments, decoration, carpets, weaving, patterns, domesticity, wallpaper, fabrics, and furniture. (p. 114-5 Russ quoting Valerie Jaudon and Joyce Kozloff)
  • Another consequence of the focus on a male value system, is that associations are made between things like size and quality (the number of pages in a book, for instance, affects how prestigious it is); hence short stories [again: fanfiction!] are not all that important compared to novels
  • Women always write in the vernacular.
  • is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
  • is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
  • is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
  • is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
  • it's easy for people outside of fanfiction fandom to dismiss the whole thing on a number of grounds
  • There is no doubt in my mind that fanfiction offers an amazing network for women writers, and given the advantages of the internet, it would be almost impossible to make this writing disappear en masse as has so often happened to women's writing in the past.
  • most of them described by Russ: yes, she wrote it, but we don't really know who "she" is; yes, she wrote it, but she totally shouldn't have (only perverts/stalkers/sluts/thieves write it); yes, she wrote it, but it's not important (because it's not about high culture ideas, it's unpaid, it's vernacular, it's just porn, it's derivative, it's bad); yes, she wrote it and it's actually good, but it's a one-off fluke and it's not really fanfiction anyway (it's a homage, a pastiche, a post-modern experiment, it won the Pulitzer); yes, she went on to write successful original novels in spite of her fanfiction beginnings (but she's not like all the others who do it, and let's not talk about it anyway, because it opens us up to copyright violation lawsuits).
  • very hard to combat, as people are sure these biases are "common sense".
  • Do we really want to be part of a culture that endorses a silencing of women by keeping us in our places in the ghetto? Or is this beyond the purview of something we do for fun, as a hobby?
  • It seems to me that part of why fanfiction can so easily be written off is because we so carefully police it, keeping our work in the unpaid ghetto along with other women's crafts.
  • Not just because of the "silencing" issue, but because of the female poverty issue
  • Then again, fanfiction's market isn't the commercial publishing market--fanfiction is part of the long-tail economy of the internet, so the same rules don't apply.
  • I still think that the fanfiction community is the most amazing women's art culture I've ever experienced, and quite possibly the most amazing there has ever been, just in terms of sheer numbers and output. And perhaps that is enough; perhaps one of the foundation-stones of the fanfiction community is that it doesn't have to engage directly with capitalist imperatives, and messing with that ethos might unbalance everything.
  • I do feel angry, though, that this amazing outpouring of female talent is written off as nothing but derivative porn written by a bunch of crackpots. It makes me want to punch things and scream at the world, "Are you all asleep, or just deliberately stupid?"
Nele Noppe

The Surprising History of Copyright and The Promise of a Post-Copyright World - 0 views

questioncopyright.org/promise

copyright history fanficforensics phd

shared by Nele Noppe on 25 Jan 10 - Cached
  • copyright was never primarily about paying artists for their work, and that far from being designed to support creators, copyright was designed by and for distributors — that is, publishers, which today includes record companies.
  • For three centuries, the publishing industry has been working very hard to obscure copyright's true origins, and to promote the myth that it was invented by writers and artists.
  • make sure the public never asks exactly who this system is meant to help.
  • ...25 more annotations...
  • They're fighting to maintain a state of mind, an attitude toward creative work that says someone ought to own products of the mind, and control who can copy them. And by positioning the issue as a contest between the Beleaguered Artist, who supposedly needs copyright to pay the rent, and The Unthinking Masses, who would rather copy a song or a story off the Internet than pay a fair price, the industry has been astonishingly successful. They have managed to substitute the loaded terms "piracy" and "theft" for the more accurate "copying" — as if there were no difference between stealing your bicycle (now you have no bicycle) and copying your song (now we both have it).
  • Copyright is an outgrowth of the privatization of government censorship in sixteenth-century England. There was no uprising of authors suddenly demanding the right to prevent other people from copying their works; far from viewing copying as theft, authors generally regarded it as flattery. The bulk of creative work has always depended, then and now, on a diversity of funding sources: commissions, teaching jobs, grants or stipends, patronage, etc. The introduction of copyright did not change this situation. What it did was allow a particular business model — mass pressings with centralized distribution — to make a few lucky works available to a wider audience, at considerable profit to the distributors.
  • For the vast majority of artists, copyright brings no economic benefits. True, there are a few stars — some quite talented — whose works are backed by the industry; these receive the lion's share of distribution investment, and generate a correspondingly greater profit, which is shared with the artist on better than usual terms because the artist's negotiating position is stronger. Not coincidentally, these stars are who the industry always holds up as examples of the benefits of copyright.
  • The first copyright law was a censorship law.
  • The method the government chose was to establish a guild of private-sector censors, the London Company of Stationers, whose profits would depend on how well they performed their function. The Stationers were granted a royal monopoly over all printing in England, old works as well as new, in return for keeping a strict eye on what was printed.
  • The system was quite openly designed to serve booksellers and the government, not authors. New books were entered in the Company's Register under a Company member's name, not the author's name. By convention, the member who registered the entry held the "copyright", the exclusive right to publish that book
  • The Stationers' right was a new right, though one based on a long tradition of granting monopolies to guilds as a means of control. Before this moment, copyright — that is, a privately held, generic right to prevent others from copying — did not exist.
  • Dissolution of the monopoly might have been good news for long-suppressed authors and independent printers, but it spelled disaster for the Stationers, and they quickly crafted a strategy to retain their position in the newly liberal political climate.
  • The Stationers based their strategy on a crucial realization, one that has stayed with publishing conglomerates ever since: authors do not have the means to distribute their own works. Writing a book requires only pen, paper, and time. But distributing a book requires printing presses, transportation networks, and an up-front investment in materials and typesetting. Thus, the Stationers reasoned, people who write would always need a publisher's cooperation to make their work generally available. Their strategy used this fact to maximum advantage. They went before Parliament and offered the then-novel argument that authors had a natural and inherent right of ownership in what they wrote, and that furthermore, such ownership could be transferred to other parties by contract, like any other form of property.
  • The first recognizably modern copyright, the Statute of Anne, was passed in 1709 and took effect in 1710.
  • The Statute of Anne, taken in historical context, is the smoking gun of copyright law. In it we can see the entire apparatus of modern copyright, but in still-undisguised form. There is the notion of copyright as property, yet the property is really intended for publishers, not authors. There is the notion of benefitting society, by encouraging people to write books, but no evidence was offered to show that they would not write books without copyright. Rather, the Stationers' argument was that publishers could not afford to print books without protection from competition, and furthermore that printers could not be depended to reproduce works faithfully if given unfettered freedom to print. The corollary, they implied, was that without the prospect of reliable distribution, authors would produce fewer new works.
  • The authors who succeeded in selling this new right to printers had no particular motivation to complain — and naturally, we don't hear very much about the authors not so favored. T
  • This is the secret that today's copyright lobby never dares say aloud, for once it is admitted, the true purpose of subsequent copyright legislation becomes embarrassingly clear.
  • Having granted the premise that copyrights should exist at all, the English government found themselves under pressure to extend copyright terms further and further.
  • The industry's centuries-long campaign for strong copyright law is not merely a reflexive land grab, however. It's a natural economic response to technological circumstances. The effect of the printing press, and later of analog sound recording technology, was to make creative works inseparable from their means of distribution. Authors needed publishers the way electricity needs wires. The only economically viable method of reaching readers (or listeners) was the bulk print run
  • There is nothing inherently exploitative about this; it's just straightforward economics. From a business point of view, a print run is a daunting and risky project.
  • When one realizes that all this must happen before the work has generated a penny of revenue, it is little wonder that publishers argue hard for copyright. The publisher's initial investment — that is, their risk — in any individual work is greater, in economic terms, than the author's
  • The arrival of the Internet fundamentally changed this equation.
  • But today, the medium over which content is distributed can be unrelated to the medium in which it is ultimately consumed. The data can be sent over a wire, at essentially no cost, and the user can print up a copy at her own expense, and at whatever quality she can afford, on the other end [7]. Furthermore, it is no longer important to possess the master; in fact, the concept of the master copy itself is obsolete. To make a perfect copy of a printed work is actually quite hard, although making a corrupt or abridged copy is very easy. Meanwhile, to make a perfect copy of a digital work is trivially easy — it's making an imperfect copy that requires extra effort.
  • Thus, a publisher's total expense was proportional to the number of copies distributed. In such a situation, it is reasonable to ask that each user bear a portion of the costs of distribution.
  • Thus the practice of charging the same fee for each copy, regardless of how many copies there are or who made them, is now unjustifiable. The cost of producing and distributing the work is now essentially fixed, no longer proportional to the number of copies
  • From society's point of view, every dollar spent beyond the amount needed (if any) to bring the work into existence in the first place is a waste, an impediment to the work's ability to spread on its own merits.
  • The Internet did something the Company of Stationers never anticipated: it made their argument a testable hypothesis. Would creators still create, without centralized publishers to distribute their works? Even minimal exposure to the Internet is enough to provide the answer: of course they will.
  • Imagine the simplest scenario: you walk into the neighborhood print shop and tell the clerk the Web address of the book you want. A couple of minutes later, the clerk comes back with a freshly printed, hardbound book, straight off the Internet. He rings up the sale. "That'll be eight dollars. Would you like to add the one dollar author's suggested donation?" Do you say yes? Perhaps you do, perhaps not — but note that when museums charge a voluntary admission fee, people often pay it. The same sort of dynamic is at work in the copy shop. Most people are happy to pay a tiny extra bit on top of some larger amount, if they have their wallet out already and think it's for a good reason.
  • This is not the only possible system, and it can easily coexist with others. Those not convinced by voluntary donations should consider another method: the Fund and Release system (also called the Threshold Pledge system [9]).
Nele Noppe

The Visual Linguist: (^_^) ... Emoticons and the Brain - 0 views

www.emaki.net/...emoticons-and-brain.html

visual_language emoticons comics manga race fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • That is, as the authors say, "Remarkably, emoticons convey emotions without cognition of faces."This finding has very interesting consequences for understanding how brains process varying degrees of complexity in images. The implication here at least is that more simplified faces become tied more explicitly to a "symbolic" meaning as opposed to their iconic meaning of resembling what they look like. That is, more simplified images strip down the meaning to its core meaning disconnected to the iconic reference that they are framed within.
Nele Noppe

ハリポタカップリング思考100Q〜スネハー篇 - 0 views

homepage3.nifty.com/...100q.htm

snape harry pairings harry_potter fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • Nele Noppe on 11 Aug 09
     
    "ー"
Nele Noppe

Allons Gai: Be-Boy magazine in French « A Face Made for Radio: Helen McCarthy... - 0 views

helenmccarthy.wordpress.com/...-gai-be-boy-magazine-in-french

academic manga magazines shojo_manga boys_love france manga_industry sexual_content technology cellphones fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • The Anime Encyclopedia points out that porn usually leads mainstream genres in the adoption of new delivery technologies. Japan usually leads Europe and America in just the same way.
Nele Noppe

Confessions of an Aca/Fan: Archives: How "Dumbledore's Army" Is Transforming Our World:... - 0 views

henryjenkins.org/...umbledores_army_is_transf.html

harry_potter politics internet fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • The HP Alliance has adopted an unconventional approach to civic engagement -- mobilizing J.K. Rowling's best-selling Harry Potter fantasy novels as a platform for political transformation, linking together traditional activist groups with new style social networks and with fan communities. Its youthful founder, Andrew Slack, wants to create a "Dumbledore's Army" for the real world, adopting fantastical and playful metaphors rather than the language of insider politics, to capture the imagination and change the minds of young Americans. In the process, he is creating a new kind of media literacy education -- one which teaches us to reread and rewrite the contents of popular culture to reverse engineer our society.
  • The average person we reach is somewhere between the ages of thirteen and twenty-five, very passionate, enthusiastic, and idealistic - but often have very few activist outlets that speak to them. And this is no coincidence. Unfortunately, so much of our culture directed at young people is about asking them to consume.
  • In the case of Voldemort's followers, it's a cult, but it's still got this very addictive element to it, and I'm sure if you go into areas where there's terrorism in the world, a lot of families - like the ones I met and worked with in North Ireland -- experienced that addictive quality. It might not be drug addiction, but having a family member who is in a paramilitary group is a very, very difficult thing to cope with. Even families that sided with them intellectually couldn't deal with the idea of them being imprisoned and all of the horrible things they were doing.
Nele Noppe

Science 2.0: A Web Native Research Record - Applying the Best of the Web to the Lab Not... - 0 views

www.globalnerdy.com/...of-the-web-to-the-lab-notebook

open_access research internet academia fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • The links between things make the web go round I want to make science less like a great big monolithic document and make it more like a network of pieces of knowledge, wired together: Fragments of science Loosely coupled Tightly wired
  • What is a “fragment of science”? A paper is too big a piece, even if it is the "minimal publishable unit" A tweet is too small A blog post would be the right size
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

Vegetal and mineral memory: The future of books - 0 views

weekly.ahram.org.eg/...bo3.htm

umberto_eco literature internet open_work phd phd_unfinished

shared by Nele Noppe on 15 Jan 10 - Cached
  • The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. Such a difference between text and system is enormously important,
  • Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link.
  • Notice that if the question concerned the possibility of infinite, or indefinite, interpretations on the part of the reader, it would have very little to do with the problem under discussion.
  • ...28 more annotations...
  • No: what are presently under consideration are cases in which the infinity, or at least the indefinite abundance of interpretations, are due not only to the initiative of the reader, but also to the physical mobility of the text itself, which is produced just in order to be re-written. In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.
  • First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language.
  • If you are able to use an English dictionary well you could write Hamlet, and it is by mere chance that somebody did it before you. Give the same textual system to Shakespeare and to a schoolboy, and they have the same odds of producing Romeo and Juliet.
  • Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe.
  • A text castrates the infinite possibilities of a system.
  • Finnegans Wake is certainly open to many interpretations, but it is certain that it will never provide you with a demonstration of Fermat's last theorem, or with the complete bibliography of Woody Allen. This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false.
  • How can hypertextual strategies be used to "open" up a finite and limited text?
  • The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen. This is today possible, and you can find on the Net some interesting examples of such literary games.
  • AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes.
  • Yet, there is a difference between implementing the activity of producing infinite and unlimited texts and the existence of already produced texts, which can perhaps be interpreted in infinite ways but are physically limited. In our same contemporary culture we accept and evaluate, according to different standards, both a new performance of Beethoven's Fifth and a new Jam Session on the Basin Street theme. In this sense, I do not see how the fascinating game of producing collective, infinite stories through the Net can deprive us of authorial literature and art in general. Rather, we are marching towards a more liberated society in which free creativity will coexist with the interpretation of already written texts. I like this. But we cannot say that we have substituted an old thing with a new one. We have both.
  • I have tried desperately to find an instance of unlimited and finite textual situations, but I have been unable to do so. In fact, if you have an infinite number of elements to play with why limit yourself to the production of a finite universe? It's a theological matter, a sort of cosmic sport, in which one, or The One, could implement every possible performance but prescribes itself a rule, that is, limits, and generates a very small and simple universe.
  • A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one.
  • All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom.
  • n contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. We are only free to move pre-established textual chunks in a reasonably high number of ways.
  • At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. The Net is open to such experiments, and most of them can be beautiful and rewarding. Nothing forbids one writing a story where Little Red Riding Hood devours the wolf. Nothing forbids us from putting together different stories in a sort of narrative patchwork. But this has nothing to do with the real function and with the profound charms of books.
  • A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified.
  • Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death.
  • That is what every great book tells us, that God passed there, and He passed for the believer as well as for the sceptic. There are books that we cannot re-write because their function is to teach us about necessity, and only if they are respected such as they are can they provide us with such wisdom. Their repressive lesson is indispensable for reaching a higher state of intellectual and moral freedom.
  • Its model is not so much a straight line as a real galaxy where everybody can draw unexpected connections between different stars to form new celestial images at any new navigation point.
  • Even after the invention of printing, books were never the only instrument for acquiring information. There were also paintings, popular printed images, oral teaching, and so on. Simply, books have proved to be the most suitable instrument for transmitting information.
  • Hypertexts will certainly render encyclopaedias and handbooks obsolete.
  • Then they are books to be consulted, like handbooks and encyclopaedias.
  • There are two sorts of book: those to be read and those to be consulted.
  • Yet, can a hypertextual disk or the WWW replace books to be read? Once again we have to decide whether the question concerns books as physical or as virtual objects. Once again let us consider the physical problem first.
  • Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors.
  • TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. This will certainly change the whole publishing market.
  • Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.
  • Alas, if by chance one hoped that computers, and especially word processors, would contribute to saving trees, then that was wishful thinking. Instead, computers encourage the production of printed material. The computer creates new modes of production and diffusion of printed documents.
Nele Noppe

Fanart as craft and the creation of culture - 0 views

www.atypon-link.com/...eta.5.1.7_1

fanart to_read craft fans internet art

shared by Nele Noppe on 21 Sep 10 - No Cached
  • , 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.
  • personally relevant content
Nele Noppe

Videogames and art - Google Boeken - 0 views

books.google.be/books

fanart semiotics phd phd_unfinished

shared by Nele Noppe on 27 Sep 10 - No Cached
  • Nele Noppe on 27 Sep 10
     
    Videogames and art
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

Culture is Anti-Rivalrous | Techdirt - 0 views

www.techdirt.com/...ulture-is-anti-rivalrous.shtml

culture cultural_goods anti-rivalrous

shared by Nele Noppe on 13 Jul 11 - No Cached
  • Nele Noppe on 13 Jul 11
     
    Culture is anti-rivalrous. The more people know and sing a song, the more cultural value it has. The more people watch my film Sita Sings the Blues, or read my comic strip Mimi & Eunice, the happier I'll be, so please go do that now and then come back and read the rest of this paragraph. The more people know a movie or TV show, the more cultural value it has. Monty Python references attest to the cultural value of Monty Python - we even use the word "spam" because of it. Shakespeare's works are culturally valuable, and phrases from them live on in the language even apart from the plays ("I think she doth protest to much," etc.). The more people refer to Monty Python and Shakespeare, the more you just gotta see em, amiright? Or not, it doesn't matter whether you see them, you're already speaking them. That all culture is a kind of language, I'll leave for another discussion. Cultural works increase in value the more people use them. That's not rivalrous, or non-rivalrous; that's anti-rivalrous.
Nele Noppe

Why PROTECT IP Will Fail: Cultural Acceptance, Not Fear Of Punishment, Makes People Abi... - 0 views

www.techdirt.com/...-makes-people-abide-laws.shtml

censorship copyright cultural_acceptance law crime internet united_states

shared by Nele Noppe on 13 Jul 11 - No Cached
  • Nele Noppe on 13 Jul 11
     
    This new proposed law is a terrible way to try to solve [infringement]. Its passage would only drive the culture further yet from any respect for the rule of law as it applies to intellectual property. But if Big IP hasn't figured out yet that it is cultural acceptance of legal norms, not fear of punishment, that makes a free society a law-abiding one -- if Big IP doesn't understand what the de facto attitude of consumers regarding copyright has already become, and where it is already going -- then heck, maybe at this point the law professors and the rest of us should just let Congress already go ahead and give them enough rope. This is the key point that many of us have been trying to drive home for years. It's the same key point that the SSRC report made in pointing out that "enforcement" and "education" are simply not strategies that work. And that wasn't based on theory. It was based on years and years of detailed research. And yet, to the industry and to the government there seems to be only one single tool in the box for dealing with the challenges of infringement: to scare people. But that only works if people are stupid. And we now have plenty of experience in recognizing that people don't culturally accept the claims of the industry on this issue, and no amount of threats and punishment are likely to change that.
« First ‹ Previous 161 - 180 Next › Last »
Showing 20▼ items per page