From the 1/12 edition of the NY Times.
"Mr. Lanier, a musician and avant-garde computer scientist - he popularized the term "virtual reality" - wonders if the Web's structure and ideology are fostering nasty group dynamics and mediocre collaborations. His new book, "You Are Not a Gadget," is a manifesto against "hive thinking" and "digital Maoism," by which he means the glorification of open-source software, free information and collective work at the expense of individual creativity."
This is the first part of an eight part essay by Andy Oran of O"Reilly media on digital identity. The other seven parts can be accessed from this one. I am bookmarking it here because it alludes to a transmedia approach to the construction of personal narratives.
Very interesting collection of posts - the year end summary sparked my interest to dig back to earlier posts including the one on June 25, 2009 titled Hyperconnectivity: The Power of Sharing. It has 2 videos, one from Mark Pesce - worth the watch.
"The manifesto underlines the importance of the public domain as a shared
resource and established a number of principles for the public domain in the
digital age. The first principle is:
The Public Domain is the rule, copyright protection is the exception. Since
copyright protection is granted only with respect to original forms of
expression, the vast majority of data, information and ideas produced
worldwide at any given time belongs to the Public Domain. In addition to
information that is not eligible for protection, the Public Domain is
enlarged every year by works whose term of protection expires. The combined application of the requirements for protection and the limited duration of the copyright protection contribute to the wealth of the Public Domain so asto ensure access to our shared culture and knowledge."
Corey Doctorow writing on Boingboing.net
Video Vortex "focuses on the status and potential of the moving image on the Internet..." Over the past years the place of the moving image on the Internet has become increasingly prominent. With a wide range of technologies and web applications within anyone's reach, the potential of video as a personal means of expression has reached a totally new dimension. How is this potential being used? How do artists and other political and social actors react to the popularity of YouTube and other 'user-generated-content' websites? What does YouTube tell us about the state of contemporary visual culture? And how can the participation culture of video-sharing and vlogging reach some degree of autonomy and diversity, escaping the laws of the mass media and the strong grip of media conglomerates?"
"With the emergence of Facebook, Twitter, RSS, and blogs; the development of the iPhone, iTunes, the Kindle, and the pending iPad; and the continued utility of email, which has only been enhanced by smartphones - well, there's a question haunting the status quo of Web development for publishers:
Do you really need all that Web site?"
thanks to Doug for passing this along; as he notes, there are implications for notions surroudning 'tech skills' w/i AAD, as well as some key questions about the near- and distant- future with regards to online presenation/dissemination of info & knowledge (in arts/culture sector specifically, but also in general)
Excellent piece describing use of Transmedia in developing, presenting and promoting projects. Additional links from this page to pieces on Transmedia for Social Change, and more.
What struck me first in a negative way was the focus on commercialism and corporate marketing. Simple because corporate ownership of media isn'tinline with my vale system. I am pleased and most interested in. The application to social cause. Very intriguing art applications.