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John Fenn

Noetic Media - where stories cross media boundaries - 1 views

www.noeticmedia.com/about-noetic-media

digital culture stories marketing social media

shared by John Fenn on 05 Apr 12 - No Cached
  • Jackie has an unusual background in that she has also worked extensively in film and video production as well from crewing, to directing and editing.
    • John Fenn
      John Fenn on 05 Apr 12
       
      "unusual" in that professional/skill sets are assumed to be DISTINCT worlds
  • John Fenn on 05 Apr 12
     
    " Noetic Media where stories cross media boundaries"
John Fenn

Pepe - 3 views

www.uic.edu/...3191

social media digital culture social day4

shared by John Fenn on 25 Apr 12 - No Cached
  • With the growing permeation of online social networks in our everyday life, scholars have become interested in the study of novel forms of identity construction, performance, spectatorship and self–presentation onto the networked medium.
  • Though the novel’s story transpires in a pre–digital age, the volatile play of identity that ultimately destabilizes Moscarda has only increased since the advent of online social networks.
  • How would Moscarda’s tragedy play out in the inherently networked world of today? This article hopes to shed light on contemporary dilemmas of identity constructivism and self–representation while simultaneously re–evaluating one of the most celebrated works of one of Italy’s profoundest thinkers on identity and personhood.
  • ...17 more annotations...
  • Again, the process of anticipating, interpreting, and assimilating the perception of others — similar to Moscarda’s attempts to experience the outsider gaze — is a key notion in Goffman’s work and is echoed in the work of contemporary theorists writing about online identity (b
  • We attempt to reframe this notion in a contemporary context, by posing the question: how would Moscarda perform the mirror experiment were he alive today?
  • we speculate that a present–day Moscarda would be as concerned about the public perception of his physical persona as that of his virtual one. In other words, a Moscarda of the day would be curious to explore how he is portrayed and perceived both off–line, in the real world, and online, on social media
  • sites the basic function of a profile is to present one’s identity. A personal profile is thus the component of one’s online identity that best approximates one’s physical, public appearance.
  • t is important to differentiate between these categories because they constitute three different levels of authorship and three different mechanisms by which aspects of one’s identity are revealed.
  • This constant digital embellishment of one’s profile points to the role of the social network as a performance stage, or a “space for performing the self” [21]. Users of online social networks “perform” and construct an online identity via a constantly updated stream of text (microblogging messages, biographical notes, photo comments), videos, and images.
  • Reflecting on the importance of the photographic medium in everyday life, Susan Sontag notes: “We learn to see ourselves photographically. To regard oneself as attractive is, precisely, to judge that one would look good in a photograph.”
  • but the bulk of his social activity would have gone largely undocumented, or confined to informal discourse and gossip. The systematic documentation of Moscarda’s social whereabouts and activities (e.g., “Moscarda is now friend with ___”) together with the traces left on his profile by third parties (e.g., a wall post from a friend reading: “hello Moscarda, it was great to see you yesterday at ___!”) represents a crucial departure from the traditional ways in which one’s identity is presented to the world.
  • s beings birthed into pre–existing societal constellations, we are outfitted with ready–made scripts and roles which we can choose to adopt, perform and even improvise on.
  • In its original sense, the rubric “performative” was intended to apply to certain “illocutionary” speech acts that were neither true nor false, but “performative.
  • How would Moscarda go about enact a similar performative construction and deconstruction in today’s networked reality?
  • he could post embarrassing photos of himself or his friends, publish unusual, rude or politically incorrect comments, drastically change his profile information, publicly reveal personal secrets, or remove some of his crucial contacts. The list is potentially endless and not limited to a single social network. Modern social networki
  • Facebook is a forum in which multiple communities and societal roles necessarily meet: these days, your parents, your children, your colleagues, and your friends are all on Facebook.
  • acebook, however, allows its users a very limited range of identity maneuver. By encoding prescriptive or formulaic alternatives within its system (gender: male or female; religious views: Christian, Jewish, etc.; Political views: liberal, conservative, etc.), by slotting its users in preset geographical or associational networks, by enforcing the authenticity of user profiles, and by cloning everyone within the same spectrum of light blues and unadorned walls, Face
  • If for Butler, mimicry and masquerade form the essence of identity, then Facebook offers a padded playpen in which to explore the polyglot nature of the self, while at the same time homogenizing its adherents by excluding the radical and the troubling
  • As noted by van Kokswijk (2008), this identity proliferation does not necessarily undermine the integrity of one’s “real” identity. Rather, he contends that by having different profiles and wearing different habituses, Dida (or anyone) does not decentralize or diminish her identity; rather, she multiplies it infinitely.
  • Yet, these efforts are counteracted by the thoroughly dynamic, immediate and interactive nature of social networking sites that tacitly or often explicitly coerce their users to constantly act upon their social circles: “Unlike everyday embodiment, there is no digital corporeality without articulation. One cannot simply ‘be’ online; one must make one’s presence visible through explicit and structured actions.” [32] In this vein, most Facebook users are incessantly prompted to contact friends who they have not been in touch with lately (“Write on ___’s wall! Send her a message!”), and to browse through endless lists of suggested friends (“People you may know”), and even to provide a description of their past activities (“Add a Life Event to your Facebook Timeline”). B
  • John Fenn on 25 Apr 12
     
    Uno, Nessuno, Centomila (One, No One and One Hundred Thousand) is a classic novel by Italian playwright Luigi Pirandello. Published in 1925, it recounts the tragedy of Vitangelo Moscarda, a man who struggles to reclaim a coherent and unitary identity for himself in the face of an inherently social and multi-faceted world. What would Moscarda identity tragedy look like today? In this article we transplant Moscarda's identity play from its offline setting to the contemporary arena of social media and online social networks. With reference to established theories on identity construction, performance, and self-presentation, we re-imagine how Moscarda would go about defending the integrity of his selfhood in the face of the discountenancing influences of the online world.
  • Tara Wibrew on 03 May 12
     
    Pirandello's Six Characters in Search of an Author provides another interesting facet to this discussion. In the play, a family of characters arrive at a rehearsal-in-progress, begging for the producer, playwright, and other actors to write down and perform the family's story. The family members do not exist outside of their interactions with the rest of the family; the characters themselves cannot exist without the acknowledgement and assistance of the artists; and, despite traditional lines between real life and fiction, every family member character and "real-life" character is altered by the interaction. How much are our identities--as we experience them--dependent on others for validation? Are we performing our lives for others? At what point do we (can we) draw boundaries between spectator and performer, especially in relation to identity creation?
John Fenn

SXSW panel - 3 views

schedule.sxsw.com/...event_IAP11042

media boundaries _social

shared by John Fenn on 29 Mar 12 - No Cached
  • where do we draw the line between personal and professional identities online?
  • In 2009, she co-authored Social by Social: A practical guide to using
  • John Fenn on 29 Mar 12
     
    As our networks expand, our profiles get more public, and our work requires a human face, where do we draw the line between personal and professional identities online? How do we maintain those boundaries for our community members? How do we respond to attacks, opportunities, and over-shares online? When does over-sharing hurt the community? When should you share your own personal stories as a manager, or personally reach out to community members? Growing and cultivating an active community also requires that the community manager walk the fine line of personal and professional sharing. Every community manager wonders when and how to professionally cultivate leaders and members to create a thriving community while still being personal. On the reverse side, sometimes community members share too much, which can hurt the health of the community. This panel will address these questions and more from experience in nonprofit and public media sectors.
  • Tara Wibrew on 04 Apr 12
     
    Panel discussion on Social Media Boundaries from the 2012 SXSW festival this March.
Tara Wibrew

Joel Hodgson on 'Mystery Science Theater' and Riffs - NYTimes.com - 0 views

www.nytimes.com/...science-theater-and-riffs.html

digitalstorytelling storytelling media narrative nytimes MST3K digital culture

shared by Tara Wibrew on 03 Jun 12 - No Cached
  • Tara Wibrew on 03 Jun 12
     
    If you've not enjoyed an episode or several of Mystery Science Theatre 3000 (or MST3K), this article provides and excellent overview. Hodgson teaches a master class on riffing, focusing on the art of storytelling and relating it both to the story being told (film) and the audience experience. Interesting points are also lightly touched on regarding the implications of something like movie riffing in the age of social media.  Also, if you've not done so previously, I recommend RiffTrax, the downloadable mp3 tracks meant to be played along with popular, contemporary movies, as opposed to the B-list flicks riffed on in MST3K. (These tracks are not paired with the movies themselves due to, of course, copyright issues.)
Mary Morgan

BEST WORST MOVIE | TROLL 2 DOCUMENTARY - 0 views

bestworstmovie.com

shared by Mary Morgan on 12 Apr 12 - Cached
  • Mary Morgan on 12 Apr 12
     
    great example of the story of intention vs. interpretation, ironic appreciation vs. new sincerity In 1989, a group of unknown Utah actors starred in what would be crowned the worst movie of all time: TROLL 2. After two decades of running from this cinematic disaster, the cast can no longer hide from the legion of followers that celebrate them for their ineptitude.
  • Mary Morgan on 12 Apr 12
Tara Wibrew

RSUBOX - 0 views

www.rsub.com/rsubox

transmedia boundaries culture media digital culture

shared by Tara Wibrew on 12 Apr 12 - No Cached
  • Tara Wibrew on 12 Apr 12
     
    The creators of Central Toilet and other animations, distributed online.
  • Mary Morgan on 12 Apr 12
     
    can't wait to see the story of toilets in the office...
Mary Morgan

relationship boundaries- what is a "YouTube community" - 0 views

www.youtube.com/edarem

shared by Mary Morgan on 26 Apr 12 - Cached
  • Mary Morgan on 26 Apr 12
     
    The story of this man's video postings and the community that built and comforted each other online after he passed away. Quite the character. see also: http://en.wikipedia.org/wiki/Edarem
Tara Wibrew

Facebook Isn't Making Us Lonely - Slate Magazine - 2 views

www.slate.com/...tic_cover_story_is_wrong_.html

culture boundaries media social media facebook digital culture day5 loneliness social

shared by Tara Wibrew on 01 May 12 - No Cached
  • Tara Wibrew on 01 May 12
     
    Slate's Eric Klinenberg responds to the Atlantic Monthly's story, "Is Facebook Making Us Lonely?" His response focuses on more of the research evidence refuting some of the assertions made in Marche's original article--including some of the quotations Marche pulled from Klinenberg's book on the rise in number of people living alone. Also, participants on the most recent Slate Culture Gabfest (a weekly podcast series, which I highly recommend) discussed both the original article and response. Available for download on iTunes or streaming:  http://www.slate.com/articles/podcasts/culturegabfest/2012/04/rupaul_s_drag_race_facebook_and_loneliness_and_the_legacy_of_dick_clark_on_slate_s_culture_gabfest.html?tid=sm_tw_button_toolbar via
caseyi

Harvard, MIT partner to offer free online courses - 1 views

www.latimes.com/...nline-20120503,0,4584045.story

day4 technology education

shared by caseyi on 03 May 12 - No Cached
  • caseyi on 03 May 12
     
    In a move that heightened competition in online education and brought more prestige to the still-fledgling field, Harvard University and MIT announced a partnership Wednesday to offer the public mainly free Internet classes.
  • caseyi on 03 May 12
     
    Heard about this on NPR today, M.I.T. and Harvard are actually starting a non-profit and have already dumped $60 million into a project they call edX, intended to "improve, not replace, the campus experience." Should turn out to be an honorable donation to the global learning community. This is an interesting move towards providing free access to quality educational information. -Another article containing a press release: Engadget Article
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