tag:blogger.com,1999:blog-38247063734031687732024-03-14T03:19:30.525-06:00New Media NarrativesUnknownnoreply@blogger.comBlogger89125tag:blogger.com,1999:blog-3824706373403168773.post-21792785652365330652011-05-03T16:09:00.001-06:002011-06-03T16:11:08.581-06:00[End of the Term]Thanks everyone for your participation in the first ever running of the New Media Narratives & Publishing module!<br />
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It was a pleasure to *meet* each of you and I look forward to hearing what you're up to via your Tweets.<br />
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Best of luck everyone!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-2247140663320101552011-04-17T15:37:00.005-06:002011-04-17T15:47:25.814-06:00Power of Words..A good video to finish off the course.... no explanation needed... <iframe title="YouTube video player" src="http://www.youtube.com/embed/BnVbiTwkvp4" frameborder="0" width="480" height="390"></iframe>Denise Khttp://www.blogger.com/profile/12349189293068582444noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-42047708629019465732011-04-11T09:06:00.001-06:002011-04-11T09:19:55.669-06:00Week 13: New Media Narratives in Review<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7AbPFB78P85eJl0JpLm49gLf-Plq3zacVhEm96S49CDM5fURDIoz_2JKlslMzUTRNhvDY1_1c6JEGZaf1HR-BzBZyB_KTX66unBtFyc-GA2w7GqeVW7b-c7LpmyHr_zJMrzI9Kb1Qsx7r/s1600/lecture+notes+week+13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7AbPFB78P85eJl0JpLm49gLf-Plq3zacVhEm96S49CDM5fURDIoz_2JKlslMzUTRNhvDY1_1c6JEGZaf1HR-BzBZyB_KTX66unBtFyc-GA2w7GqeVW7b-c7LpmyHr_zJMrzI9Kb1Qsx7r/s640/lecture+notes+week+13.jpg" width="468" /></a></div><title></title> <style type="text/css">
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<div class="separator" style="clear: both; text-align: center;"></div><div class="p1"><b><br />
</b></div><ul class="ul1"></ul><div class="p1"><b>Links:</b></div><div class="p1"><b><br />
</b></div><div class="p2"><span class="s1"><a href="http://www.statesman.com/news/local/first-grader-creates-iphone-app-703834.html">A timely example of how even the youngest learners can demonstrate transliteracy</a> </span></div><div class="p2"><span class="s1">(<a href="http://itunes.apple.com/us/app/3-little-pigs/id357980333?mt=8"><span class="s2">http://itunes.apple.com/us/app/3-little-pigs/id357980333?mt=8</span></a>)</span></div><div class="p2"><span class="s1"><br />
</span></div><div class="p2"><span class="s1"><span class="Apple-style-span" style="font-family: 'Gill Sans';"><span class="Apple-style-span" style="font-size: 15px;"><b>Discussion Questions: </b></span></span></span></div><div class="p2"><span class="s1"><br />
</span></div><div class="p2"><span class="s1"></span></div><div class="p2" style="text-align: center;">Q1. Having spent weeks reading about new </div><div class="p2" style="text-align: center;">media and participating in the new media </div><div class="p2" style="text-align: center;">environment, how has the telling of your own </div><div class="p2" style="text-align: center;">narratives changed? Do you find that you use </div><div class="p2" style="text-align: center;">Facebook or Twitter more often? Are you </div><div class="p2" style="text-align: center;">blogging? Or, have you strengthened your love </div><div class="p2" style="text-align: center;">of print?</div><div class="p2" style="text-align: center;">Q2. Chris Anderson is worried that the </div><div class="p2" style="text-align: center;">perceived shift from web publishing to apps is </div><div class="p2" style="text-align: center;">synonymous with a move from connection & </div><div class="p2" style="text-align: center;">active creation to passive consumption. Apps </div><div class="p2" style="text-align: center;">don’t interoperate, they are “hostile to links and </div><div class="p2" style="text-align: center;">search” says Jeff Jarvis. What does this move </div><div class="p2" style="text-align: center;">from online to (almost) offline mean to writers </div><div class="p2" style="text-align: center;">and publishing?</div><div class="p2" style="text-align: center;">Q3. Based on our exploration of publishing, </div><div class="p2" style="text-align: center;">new media and transliteracy, how precise do </div><div class="p2" style="text-align: center;">you think Jeff Jarvis is when he says: “Ignore </div><div class="p2" style="text-align: center;">print. Enable community”? (Read Jeff Jarvis’s </div><div class="p2" style="text-align: center;">article on the demise of magazines: <a href="http://www.blogger.com/goog_981903504">http://</a></div><div class="p2" style="text-align: center;"><a href="http://www.buzzmachine.com/">www.buzzmachine.com/</a>).</div><br />
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</span></div><div class="p5"><span class="s1"><b></b></span></div>Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-3824706373403168773.post-21394129232629192302011-04-08T22:52:00.003-06:002011-04-08T23:04:32.812-06:00Creating culture through remix<span style="font-size:85%;"><span style="font-family:arial;">Many of us are accustomed to relying on a retweet, status update, video upload or hyperlink as a means of sharing information. Within this sharing we build communities through common interests, gain acceptance and understanding of others, and experience places that otherwise would always remain foreign to us. These ubiquitous acts allow us to move seamlessly between our two roles of consumer and producer, participating in the production of our culture. Each time we share we view something that is produced we essentially are actively engaged in remix culture. To Knoble and Lankshear (2008) “remix means to take cultural artifacts and combine and manipulate them into new kinds of creative blends” (p. 22).” Perhaps to many of us, it simply means actively using the tools we have available to us in our daily lives. </span><br /><br /><span style="font-family:arial;">What to many of us is an obsolete thought is the fact that our use of these tools is in contradiction of the traditional ways in which people were to interact with the media. In the read only culture of the past we simply consumed. (Lessig, 2008). Newspapers, books, television shows and movies were ‘taken in’ - media was served to us. Through this media we defined our culture. Fast-forward to a world filled with digital technology, which “changed how we think about access to culture” (Lessig, 2008). We now not only see culture through what the media gives us, we use media ourselves to create our culture. Each one of us have the ability, if we wanted, to create our culture and we do so without even knowing it. Uploading a movie onto YouTube that was created using iMovie and inserting a song that was downloaded off of iTunes seems nothing more than a few hours work. What we forget is that in the process we accessed information that really didn’t belong to us. Permission wasn’t obtained to use the latest song as background music to accompany personal photos or videos. We simply thought since we have access, we also have permission. And quite frankly even if we knew it may be wrong, the ease of accessibility trumps the feeling of doing something wrong. </span><br /><br /><span style="font-weight: bold;font-family:arial;" >Case study: Punjabi culture remixed</span><br /><br /><span style="font-weight: bold;font-family:arial;" >Defining culture and traditions</span><br /><br /><span style="font-family:arial;">“Culture is the conduit of past to future, the vessel of memory of countless generations of the past to countless generations in the future, an inheritance and a memorial” (Deneen, 2008, p. 65). According to Deneen (2008), culture is the way in which people come together to create meaning, to share values, build a basis by which grief and joy is measured, shared and expressed. How we share the cultural knowledge that we amass is varied through our geography, our tools, our habits and our gender. </span><br /><br /><span style="font-family:arial;">Traditions are social constructs used to create identity. Traditions are based on and defined by a group’s past and are fluid enough to change with the group’s current existence. Traditions stem from the embodied cultural capital of the group, Eisendstadt (as cited by Linnekin, 1983) says, “the selection of what is culture is always made in the present; the content of the past is modified and redefined according to a modern significance” (p. 241). Traditions are easily adapted to accommodate the changes in time and place of the group. The content of traditions is “ . . . redefined by each generation and its timeliness may be situationally constructed” (Linnekin, 1983, p. 242).</span><br /><br /><span style="font-family:arial;">For first generation Canadians of Punjabi heritage, remix is a way of life. Being Canadian they grow up experiencing what is seen as the ‘mainstream’ way of growing up: watching Sesame Street, joining sports teams at school, juggling homework and figuring out what university or college to attend. Along with this ‘mainstream’ growing up is the culture that many of them experience at home. This culture is vastly different- language, music, food, and cultural norms that perhaps sometimes seem to clash with what the rest of the kids at school are doing. In many ways these two cultures found no way to co-exist. One existed out the home in the public sphere of school/work another inside the home with friends and family of the same origin. New media dramatically changed that. </span><br /><br /><span style="font-weight: bold;font-family:arial;" >Music as a means of creating culture</span><br /><br /><span style="font-family:arial;">“Far from simply "reflecting" social processes, music provides contexts in which cultural meaning is formulated and negotiated. Among diaspora communities, music is vital for formulating diasporic cultural identity” (Diethrich, 1999, p.39). For the Punjabi community this certainly is true. Music is a way for Punjabis scattered all over the world, to connect back to the heritage and culture that is rooted in India. Often referred to as desi or Punjabi music, for young people, “music is used not only to cross the distance to India, but to create an entirely new space, one that asserts and affirms both aspects of their hyphenated identities” (Diethrich, 1999, p.36). </span><br /><span style="font-family:arial;">Today’s music remixes.</span><br /><br /><span style="font-family:arial;">According to Shirky (2008), “Our electronic networks are enabling novel forms of collective action, enabling the creation of collaborative groups that are larger and more distributed than at any other time in history” (Shirky, 2008, p.48). Because members are no longer bound by proximity, groups can exist and meet no matter where individual members may reside. This is seen in the Punjabi music scene. Websites such as <a href="http://www.simplybhangra.com">simplybhangra.com</a> connect Punjabi’s from across North America, Britian and India, all sharing their thoughts on music and it’s cultural significance or impact.</span><br /><br /><span style="font-family:arial;"><span style="font-weight: bold;">Punjabi Music creating culture</span><br /><br />Punjabi musicians teaming up with mainstream North American hip hop artists is one way in which youth see their culture being remixed. </span><br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/NOnz35MzlYc" allowfullscreen="" frameborder="0" height="390" width="640"></iframe><br /><br /><span style="font-family:arial;">Seeing mainstream North American artists perform their own versions of Indian songs is another way in which youth see their culture literally incorporating two worlds.</span><br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/lJ9_8wxofik" allowfullscreen="" frameborder="0" height="390" width="480"></iframe><br /><br /><span style="font-family:arial;">The use of Punjabi music at Bhangra competitions is also another way in which remix culture is flourishing. Youth use bhangra music alongside hiphop and pop music to combine energetic routines. The moves in these routines are themselves remixes-choreographing traditional Bhangra (Punjabi dance) with other dance genres without missing a beat. </span><br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/0oepvmYWYwU" allowfullscreen="" frameborder="0" height="390" width="640"></iframe><br /><br /><span style="font-family:arial;">These competitions not only feature remix through the music and dance, but also through their programs. <a href="http://www.vibc.org">VIBC</a>, Vancouver International Bhangra Competition is one example where youth are connecting the many cultures that make up their world. </span><br /><br /><span style="font-weight: bold;font-family:arial;" >A shift in culture</span><br /><br /><span style="font-family:arial;">The challenge comes when these remixes are done without giving permission or credit to the works that are used. Many Punjabi music songs are remixed by artists who sell and produce music as well as by the general public who remix through the use of their laptops-simply because they have the tools and the imagination to do so. Music producers and DJ’s like <a href="http://www.tigerstyleonline.co.uk/">TigerStyle</a> and create mega hits, seamlessly fusing Indian beats with mainstream music. Their “mix produces the new creative work-the “remix”. (Lessig, 2008, p. 69). </span><br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/yNIZ8Phmh4U" allowfullscreen="" frameborder="0" height="390" width="480"></iframe><br /><br /><span style="font-family:arial;">Traditional copyright laws may not be followed because music is being remixed and reproduced without the permission of artists. At an even simpler level, YouTube is inundated with videos of Punjabi music where the slides use movie clips, images of celebrities, without any real sense of permission. Perhaps one of the biggest ironies is that in many cases the artists who have created remixes are now seeing their work remixed by youth. Many of these youth remix simply because they can “access is the mantra of the YouTube generation (Lessig, 2008, p.46). </span><br /><br /><span style="font-family:arial;">The issues that exist with this remixing of culture go beyond technology. A shift in the very culture that exists within the Punjabi community is also subject to change. Traditional songs now contain modern themes, beats and lyrics. Events that at one point could be classified simply as Punjabi or Western, are now mixing both. Perhaps as mentioned above this is less of an issue, this is a natural phenomenon-traditions change with time and place. Even further, given that remix is synonymous with so much of what we do, we will simply see it as it is what it is- the world we live in.</span><br /><br /><br /><span style="font-family:arial;">Sources</span><br /><br /><span style="font-family:arial;">Deneen, P. (2008). Technology, culture, and culture. New Atlantis: A Journal of Technology & Society, 2163-2174. Retrieved from Academic Search Complete database.</span><br /><span style="font-family:arial;">Diethrich, G. (1999). Desi Music Vibes: The Performance of Indian Youth Culture in Chicago. Asian Music, 31 (1) 35-61. Retrieved from http://www.jstor.org/stable/834279 (April 7, 2011) .</span><br /><br /><span style="font-family:arial;">Lankshear, C. & Knobel, M. (2008). Remix: The Art and Craft of Endless Hybridization. Journal of Adolescent & Adult Literacy, 52(1) 22-33. Retrieved from http://www.jstor.org/stable/30139647 (April 8, 2011) .</span><br /><br /><span style="font-family:arial;">Lessig, Lawrence (2008). Remix Making Art and Commerce Thrive in the Hybrid Economy. New York: The Penguin Press.<br /><br /></span><span style="font-family:arial;">Linnekin, S. (1983). Defining traditions: variations on Hawaiian identity. American Ethnologist, (10)2, 241-252.<br /><br /></span><span style="font-family:arial;">Shirky, C. (2008). Here Comes Everybody. New York: Penguin Press.</span><br /><span style="font-family:arial;"><br />Videos:<br /><br /></span><span style="font-family:arial;">Baronroflcopter. (2010, June 8). Jay-Z and Punjabi MC Mundian to bach ke live at Rock am Ring 2010. Retrieved from http://www.youtube.com/watch?v=NOnz35MzlYc&feature=related<br /><br /></span><span style="font-family:arial;">Gurrvy. (2008, July 21). Nachna onda nahi. Retrieved from http://www.youtube.com/watch?v=yNIZ8Phmh4U<br /><br /></span><span style="font-family:arial;">Ladygagamex. (2009, September 4). The Pussycat Dolls feat. A.R. Rhaman Jai Ho! Retrieved from http://www.youtube.com/watch?v=lJ9_8wxofik&feature=fvst<br /><br /></span><span style="font-family:arial;">Redman07. (2010, March 8). Kollaboration 10 Bhangra Empire. Retrieved from http://www.youtube.com/watch?v=0oepvmYWYwU </span><br /><br /><span style="font-family:arial;">Sites: <br /><br /></span><span style="font-family:arial;">http://www.simplybhangra.com</span><br /><br /><span style="font-family:arial;">http://www.tigerstyleonline.co.uk/</span><br /><br /><span style="font-family:arial;">http://www.vibc.org</span><br /></span>TKBhttp://www.blogger.com/profile/01313584739403177778noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-52655103840401599422011-04-08T21:27:00.008-06:002011-04-11T20:25:11.594-06:00Cool Collaborative Art!This is a beautiful example of collaborative, digital music. (Bias declaration: my sister is in this, so I obviously like it. It is really good, though.)<br />
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<object width="560" height="349"><param name="movie" value="http://www.youtube.com/v/6WhWDCw3Mng?fs=1&hl=en_US&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6WhWDCw3Mng?fs=1&hl=en_US&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="349"></embed></object>Moose Wandererhttp://www.blogger.com/profile/16050541344725391926noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-86495776191259878092011-04-06T18:27:00.001-06:002011-04-06T18:27:16.059-06:00NMN<div style="padding: 0; overflow: hidden; margin: 0; width: 500px;"><a href="http://www.flickr.com/photos/37931517@N04/5595474933/in/set-72157626444765358/" title="harold_innis_public-domain_library_archives-canada" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5108/5595474933_90b7157442_s.jpg" alt="harold_innis_public-domain_library_archives-canada" style="border:none; 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margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595408681/in/set-72157626444765358/" title="800px-Kilroy_Was_Here_-_Washington_DC_WWII_Memorial_-_Jason_Coyne" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5228/5595408681_5455a8db79_s.jpg" alt="800px-Kilroy_Was_Here_-_Washington_DC_WWII_Memorial_-_Jason_Coyne" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595410041/in/set-72157626444765358/" title="modern graffiti" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5142/5595410041_385e6a0974_s.jpg" alt="modern graffiti" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595991382/in/set-72157626444765358/" title="papyrus scroll" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5180/5595991382_0d36ef158b_s.jpg" alt="papyrus scroll" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/><a href="http://www.flickr.com/photos/37931517@N04/5595994054/in/set-72157626444765358/" title="antisemitism woodcuts" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5148/5595994054_d6c8ba39f7_s.jpg" alt="antisemitism woodcuts" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595406913/in/set-72157626444765358/" title="angry gibbon" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5227/5595406913_cccdecfdfc_s.jpg" alt="angry gibbon" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595406815/in/set-72157626444765358/" title="Human physical communication" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5142/5595406815_0a9ce414f7_s.jpg" alt="Human physical communication" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595990990/in/set-72157626444765358/" title="Mona_Lisa smile" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5183/5595990990_f3f2f237ce_s.jpg" alt="Mona_Lisa smile" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595991050/in/set-72157626444765358/" title="smile" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5145/5595991050_cce35d3826_s.jpg" alt="smile" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595409831/in/set-72157626444765358/" title="erbore tribal make up ethiopia" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5067/5595409831_1e5a2eed7d_s.jpg" alt="erbore tribal make up ethiopia" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/><a href="http://www.flickr.com/photos/37931517@N04/5595993864/in/set-72157626444765358/" title="yakuza tattoos" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5224/5595993864_c29e8597cb_s.jpg" alt="yakuza tattoos" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595993752/in/set-72157626444765358/" title="tribal makeup man new guinea" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5104/5595993752_f6c9083a15_s.jpg" alt="tribal makeup man new guinea" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595993812/in/set-72157626444765358/" title="indian jewelry" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5186/5595993812_85f04331ae_s.jpg" alt="indian jewelry" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595993670/in/set-72157626444765358/" title="emo boy" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5263/5595993670_76a3cdef25_s.jpg" alt="emo boy" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595409611/in/set-72157626444765358/" title="moroccan architecture" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5176/5595409611_f990aa6f88_s.jpg" alt="moroccan architecture" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/37931517@N04/5595409471/in/set-72157626444765358/" title="fallingwater-1" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5189/5595409471_6cd651b59e_s.jpg" alt="fallingwater-1" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/></div><div style="margin-top: 0px; margin-bottom: 5px"><p><a href="http://www.flickr.com/photos/37931517@N04/sets/72157626444765358/">NMN</a>, a set on Flickr.</p></div><p>Harold Innis was correct that certain communications mediums can be used to control information, but the creativity and adaptability of humanity means that we have always found ways to get around this. </p>Jennhttp://www.blogger.com/profile/06408958634929035799noreply@blogger.com3tag:blogger.com,1999:blog-3824706373403168773.post-10039792709320140642011-04-05T21:36:00.002-06:002011-04-05T21:43:30.609-06:00COMM 597, ASSIGNMENT 3<div style="padding: 0; overflow: hidden; margin: 0; width: 500px;"><a href="http://www.flickr.com/photos/61400808@N03/5590567275/in/set-72157626306846607/" title="Huxley" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5259/5590567275_3a06d0403e_s.jpg" alt="Huxley" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594110876/in/set-72157626306846607/" title="Culture" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5066/5594110876_fba159c5c0_s.jpg" alt="Culture" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594117800/in/set-72157626306846607/" title="Tabloids" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5229/5594117800_54ff0a107e_s.jpg" alt="Tabloids" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594122994/in/set-72157626306846607/" title="Culture?" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5093/5594122994_8795a16936_s.jpg" alt="Culture?" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594130384/in/set-72157626306846607/" title="Culture?" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5307/5594130384_d51a33a8f3_s.jpg" alt="Culture?" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593550575/in/set-72157626306846607/" title="Music-traditional" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5108/5593550575_e3fedbb30d_s.jpg" alt="Music-traditional" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/><a href="http://www.flickr.com/photos/61400808@N03/5594142190/in/set-72157626306846607/" title="Sheet Music" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5104/5594142190_94d09944c2_s.jpg" alt="Sheet Music" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593562563/in/set-72157626306846607/" title="Music-modern" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5172/5593562563_21b9b8a731_s.jpg" alt="Music-modern" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593568545/in/set-72157626306846607/" title="Garage Band" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5188/5593568545_c821a3faf2_s.jpg" alt="Garage Band" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594161332/in/set-72157626306846607/" title="Music-emotion" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5093/5594161332_61a5e68cfe_s.jpg" alt="Music-emotion" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593577175/in/set-72157626306846607/" title="Cave painting" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5307/5593577175_79c30e984a_s.jpg" alt="Cave painting" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593586735/in/set-72157626306846607/" title="Artist" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5064/5593586735_5fcedf0271_s.jpg" alt="Artist" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/><a href="http://www.flickr.com/photos/61400808@N03/5593592561/in/set-72157626306846607/" title="Computer Art" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5179/5593592561_92b6d88e89_s.jpg" alt="Computer Art" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593597163/in/set-72157626306846607/" title="Interactive Art" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5181/5593597163_05aec31616_s.jpg" alt="Interactive Art" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594188010/in/set-72157626306846607/" title="Muybridge Horse Photos" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5030/5594188010_0e6aefce86_s.jpg" alt="Muybridge Horse Photos" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593604787/in/set-72157626306846607/" title="Movie Poster: Battleship Potemkin" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5027/5593604787_b3648af6ac_s.jpg" alt="Movie Poster: Battleship Potemkin" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594196156/in/set-72157626306846607/" title="YouTube Art Film" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5303/5594196156_26d3735b81_s.jpg" alt="YouTube Art Film" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593614641/in/set-72157626306846607/" title="YouTube: Jack-Ass Parody" style="display: block; padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5179/5593614641_5c23eb1e5e_s.jpg" alt="YouTube: Jack-Ass Parody" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><br clear="all"/><a href="http://www.flickr.com/photos/61400808@N03/5593620321/in/set-72157626306846607/" title="Digital Storytelling" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5310/5593620321_6702877594_s.jpg" alt="Digital Storytelling" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594211582/in/set-72157626306846607/" title="Digital Literature" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5266/5594211582_2734d2c6c3_s.jpg" alt="Digital Literature" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5594216710/in/set-72157626306846607/" title="YouTube: Meaningless Art" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5066/5594216710_f9630d492e_s.jpg" alt="YouTube: Meaningless Art" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><a href="http://www.flickr.com/photos/61400808@N03/5593658533/in/set-72157626306846607/" title="Cultural Filter" style="display: block; padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://farm6.static.flickr.com/5171/5593658533_3c4bb91dd2_s.jpg" alt="Cultural Filter" style="border:none; margin: 0; padding: 0; width: 75px; height: 75px;"/></a><div style="padding: 0 10px 10px 0; width: 75px; height: 75px; float: left;"><img src="http://l.yimg.com/g/images/gallery-empty-icon.gif" style="margin: 0; padding: 0; width: 75px; height: 75px;"></div><div style="padding: 0 0 10px 0; width: 75px; height: 75px; float: left;"><img src="http://l.yimg.com/g/images/gallery-empty-icon.gif" style="margin: 0; padding: 0; width: 75px; height: 75px;"></div><br clear="all"/></div><div style="margin-top: 0px; margin-bottom: 5px"><p><a href="http://www.flickr.com/photos/61400808@N03/sets/72157626306846607/">COMM 597, ASSIGNMENT 3</a>, a set on Flickr.</p></div><p>Aldous Huxley believed that technology was creating an "atmosphere of passivity" that stifled artistic expression and suppressed creative culture. Although his thoughts were expressed in 1927, these ideas are particularly interesting today in the context of new media publishing. I will explore these ideas through this flickr photo essay. </p>Moose Wandererhttp://www.blogger.com/profile/16050541344725391926noreply@blogger.com3tag:blogger.com,1999:blog-3824706373403168773.post-19982375449385772542011-04-03T23:23:00.004-06:002011-04-03T23:23:00.336-06:00Week 12: Guest LectureThis week I have the great pleasure of introducing Kate Pullinger. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.jesslaccetti.co.uk/uploaded_images/nintendo_dsers-710852.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://www.jesslaccetti.co.uk/uploaded_images/nintendo_dsers-710852.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here is Professor Sue Thomas (left), Kate Pullinger (next to Sue) and moi. We were being very transliterate with our Nintendo DS game playing.</td></tr>
</tbody></table><br />
<br />
A bit about Kate:<br />
<br />
<blockquote>Kate Pullinger’s most recent book, The Mistress of Nothing, won the 2009 Governor General’s Literary Award for Fiction, one of Canada’s most prestigious literary prizes, and was long-listed for the Giller Prize. Her digital fiction project Inanimate Alice has also won numerous prizes, reaching online audiences around the world. She is Reader in Creative Writing and New Media at De Montfort University where she co-founded TRG, the Transliteracy Research Group, and she also offers private 1-1 mentoring for emerging writers in both print and new media.<br />
Kate Pullinger is currently working on a new novel that builds on themes developed in her collaborative digital fiction project, Flight Paths: A Networked Novel. You can also read Kate on My Secret Blog.</blockquote><br />
Read more on Kate's site: <a href="http://www.katepullinger.com/">http://www.katepullinger.com/</a><br />
<br />
Kate's Guest Lecture:<br />
<br />
<br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">‘Inanimate Alice’ and Her Other Lives: a mini-case study</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kate Pullinger</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I came across this a couple of weeks ago and was amazed by it: it's a fictional</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.pitt.edu/~ksw15/AlicePodcast.html" target="_blank"><br />
podcast in the style of a radio interview</a>. In it, Alice, the character we created for our online episodic multimedia digital novel (gasp) '<a href="http://www.inanimatealice.com/" target="_blank">Inanimate Alice</a>', </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">is interviewed by the host of a show called 'The Daily Dose' about a 'giga pet' she's created, 'the Brad Bud'. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It's just over three minutes long but I'm amazed by it on many levels, but mainly on the level of 'wow'. These students have taken the Alice stories far beyond what exists online, developed Alice's character into young adulthood, created a business for Alice that includes a piece of tech kit that Alice has designed herself, the ‘Brad bud’. Then they've gone one step further and created a talk show for Alice to appear in, with its own host, and they've recorded the talk show interview, and broadcast it, along with the transcript, online. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There's very little information on the podcast webpage itself, but I can see from the url that it comes out of 'pitt.edu' which is the University of Pittsburgh in the US. A few tweets later, I'd figured out that these students are working with <a href="http://www.spikenlilli.com/" target="_blank">Jamie Skye Bianco</a>, who is Professor of Digital Media at Pittsburgh (also known online as @spikenlilli). Jamie teaches both 'Inanimate Alice' and <a href="http://www.flightpaths.net/" target="_blank">'Flight Paths</a>' to students on her <a href="http://postprintfictions.wordpress.com/tag/inanimate-alice/" target="_blank">'Narrative & Technology' </a>class; her students wrote a series of interesting blogposts about Alice and FP earlier this year. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It's been nearly two years since new episodes of Inanimate Alice, created by readers, first started appearing online, and these new episodes continue to proliferate. The pedagogical community around the project continues to grow; if you are interested in having a look at it, a good place to start is the <a href="http://www.facebook.com/home.php?#!/InanimateAlice" target="_blank">Facebook Inanimate Alice group page</a>. Recent developments include a Scottish teacher, Hilery Williams, who has written a series of<a href="http://hileryjane.wordpress.com/2011/03/16/inanimate-alice-and-me-4-new-media-literacies/" target="_blank"> wonderful blog posts</a> about using 'Inanimate Alice' with dyslexic teenaged readers; the post linked to here is number four in a series on Alice. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As well as that, another Scottish teacher, Kenny Pieper, has been using Alice in his secondary school classroom and, again,<a href="http://anotherramblingteacher.blogspot.com/2011/03/inanimate-alice-preview-of-coming.html?spref=tw" target="_blank"> blogging about it</a> in a way that I've found both useful and inspiring. Both groups of students are working on their own episodes of Alice, and Mr Pieper’s class has started posting these online at the class ‘Inanimate Alice’ blog - https://blogs.glowscotland.org.uk/sl/InanimateAliceBlog/ </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For writers who work in the genre of science fiction, this kind of reader-story interaction is fairly commonplace via 'fanfic', or fan fiction. But for a writer like me, working in both the genre of literary fiction, and with new forms of digital fiction, having readers talk back to my story in this way is an extraordinary experience. Every time I see a new episode, or a new blog post from people working with 'Inanimate Alice' I feel absolutely amazed. To me it seems a very meaningful form of interactivity and I'm thrilled that these stories are being used by students and teachers around the world to find new ways of talking and thinking about storytelling in the 21st Century. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was interviewed recently for an article called <a href="http://www.theglobeandmail.com/news/national/time-to-lead/are-mid-list-authors-an-endangered-species/article1942096/" target="_blank">'Are Midlist Authors An Endangered Species?</a>' that appeared in the Globe & Mail newspaper yesterday - somehow I've become one of the go-to-girls for journalists who want to talk about the future of the book and the future of stories. My conversation with the journalist was, of course, vastly reduced in the context of the article, and I ended up being quoted in the final paragraph, given this as a not-very-bright-sounding last word: “Writers will make a living in a lot of different ways, only some of which are writing,” Uh-huh. I was described in the article as a writer who "publishes both conventionally and online, where she posts fiction for free." While, strictly speaking, when it comes to 'Inanimate Alice' and 'Flight Paths', this is true - these works are available online for free - to see the vast interactive community project that Alice in particular has become reduced to 'fiction for free' is infuriating. This is not to fault the journalist; my point here is that at the moment the argument about the future of publishing seems to be focussing on self-publishers vs real publishers, on 'free' versus 'paid' content. To me this feels like I'm watching a couple of mice argue over a tiny piece of cheese while around the corner a big fat cat (representing the vast potential for multimedia, interactivity, mobile delivery, etc etc etc that digital platforms offer to writers) sits calmly licking her paw. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’d be interested to hear from you all about what you think about this kind of thing. What are your thoughts about how writing and publishing are changing? Have any of you been in touch with writers you admire via social media? Would you feel able or inclined to contact a writer you like through their website, or their twitter feed or facebook page, for example? </span>Unknownnoreply@blogger.com12tag:blogger.com,1999:blog-3824706373403168773.post-13409255420563259822011-04-03T20:49:00.001-06:002011-04-03T20:55:00.962-06:00Week 12: Writers and WritingThis week we have a guest lecture from Kate Pullinger (please see the seperate post).<br />
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Here are this week's discussion questions:<br />
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<div style="text-align: center;">Week 12: Writers and Publishing</div><div style="text-align: center;">Q1. ““If you’re trying to persuade people to do </div><div style="text-align: center;">something, to buy something, it seems to me you </div><div style="text-align: center;">should use their language, the language they </div><div style="text-align: center;">use every day, the language in which they </div><div style="text-align: center;">think.”</div><div style="text-align: center;">~David Ogilvy. Think about Ogilvy’s quote in </div><div style="text-align: center;">relation to creating and publishing in the </div><div style="text-align: center;">transliterate world. What is the </div><div style="text-align: center;">people’s language now?</div><div style="text-align: center;">Q2. Media companies are </div><div style="text-align: center;">experimenting with “user-generated </div><div style="text-align: center;">content” and comment-enabled </div><div style="text-align: center;">content is now ubiquitous, but most media </div><div style="text-align: center;">companies treat those “users” as an </div><div style="text-align: center;">undifferentiated mass (as the distasteful term </div><div style="text-align: center;">“user” implies) and the content they “generate” </div><div style="text-align: center;">as one big bucket of “stuff.” However, The </div><div style="text-align: center;">Huffington Post has a different system. Top </div><div style="text-align: center;">commenters can become featured bloggers...so, </div><div style="text-align: center;">really, those who have published the most, now </div><div style="text-align: center;">become recognised as writers. (Read about it </div><div style="text-align: center;">here: <a href="http://www.huffingtonpost.com/paulberry/huffposts-new-commentsys_b_60766.html">http://www.huffingtonpost.com/paulberry/huffposts-new-commentsys_b_60766.html</a>). How does having the </div><div style="text-align: center;">community serve as a credibility/value filter alter </div><div style="text-align: center;">traditional roles of writing and publishing? Do </div><div style="text-align: center;">you see similar examples of this kind of “wisdom </div><div style="text-align: center;">of the crowds” in your daily life?</div><div style="text-align: center;">Q3. Even with the iPad, e-books (not the apps) </div><div style="text-align: center;">are fairly conventional. We download them, and </div><div style="text-align: center;">then turn pages and bookmark interesting </div><div style="text-align: center;">excerpts. What are your five top ways that we </div><div style="text-align: center;">can expand the social reach of e-books?</div>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-3824706373403168773.post-85652118223241751182011-04-03T11:24:00.000-06:002011-04-03T11:24:43.793-06:00Distributive Publishing, Communities and Knowledge<style>
<a href="http://www.youtube.com/watch?v=M5gtN16gOr8">http://www.youtube.com/watch?v=M5gtN16gOr8</a>
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</style> <span style="font-family: Cambria; font-size: 12pt;">The different and evolving mediums of communication throughout the span of human civilization contributes to the development of specific forms of knowledge gathering and dissemination. The isolated communities of the hunter gatherers that communicated to co-create knowledge and innovate to survive has evolved through different communication mediums and technology into a much ‘<a href="http://press.princeton.edu/titles/6768.html">smaller</a>’ </span> <style>
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</style> <span style="font-family: Cambria; font-size: 12pt;">connected, networked world of global <a href="http://www.ewenger.com/theory/">communities of practice</a>. </span> <style>
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<div class="MsoNormal">These networks and communities of practice communicate to co-create new knowledge and innovation in all aspects of humanity; as examples – <a href="http://www.blogger.com/%28http://www.ted.com/talks/browse%29">business </a>, <a href="http://www.who.int/patientsafety/en/">healthcare</a>, <a href="http://www.ladygaga.com/bornthisway/index.htm%20">entertainment </a>, <a href="http://www.youtube.com/watch?v=M5gtN16gOr8">socialization</a>, <a href="http://www.ushahidi.com/">emergency response</a>, and <a href="http://www.montclair.edu/creativeresearch/livingdocument/index.html">education</a>.“ It appears that the very cognitive structure of the individual human being and the formal patterns of human social relations are intimately linked to the forms or systems of communication that are predominant in certain eras” (<a href="http://en.wikipedia.org/wiki/Wick_Rowland">Rowland</a>, 2007, p. xii). </div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"></div><div class="MsoNormal">Each of the media used by people creates its’ own space necessary to share and communicate knowledge to others. The well known the ‘media is the message ‘ by Marshall <a href="http://marshallmcluhan.com/biography/">McLuhan</a> </div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;">could be changed to the ‘media is part of the message;’ and the message still needs to be received, assimilated in context and put into action demonstrating knowledge.<br />
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Times New Roman";">Knowledge can exist in two forms; explicit and tacit. </span><span style="color: black; mso-no-proof: yes;">Explicit knowledge is generally defined as external well defined written knowledge. This is knowledge that can be spoken, written and is objective information. T</span><span style="font-family: "Times New Roman";">acit knowledge is personal, usually appears in interpersonal interaction and is contextual and difficult to communicate <span style="mso-no-proof: yes;">(Luoma & Okkonen, 2009)</span>. <span style="mso-spacerun: yes;"> </span>It is the sharing of tacit knowledge through proximity and social networks and communities of practice that Web 2.0 and social media is contributing to. Etienne <a href="http://www.ewenger.com/theory/">Wenger </a>is an acknowledged scholarly expert on Communities of Practice (COP) <span style="mso-spacerun: yes;"> </span>and on his website </span><a href="http://www.ewenger.com/theory/"><span style="font-family: "Times New Roman";">http://www.ewenger.com/theory/</span></a><span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>describes <span style="mso-spacerun: yes;"> </span></span><span style="font-family: Arial;">“</span><span style="font-family: "Times New Roman";">Communities of practice are formed by people who engage in a process of collective learning in a shared domain of human endeavor: a tribe learning to survive, a band of artists seeking new forms of expression, a group of engineers working on similar problems, a clique of pupils defining their identity in the school, a network of surgeons exploring novel techniques, a gathering of first-time managers helping each other cope” <span><span style="mso-no-proof: yes;">(<a href="http://www.ewenger.com/theory/">Wenger</a> E. , 2006)</span></span></span>.<span style="mso-spacerun: yes;"> </span>COP have been an integral component of human learning and knowledge generation and sharing from the very beginning of humanity. The knowledge generated and how it is disseminated and demonstrated through human behavior has changed through how the media can be used through space<span style="mso-tab-count: 1;"></span><span style="mso-tab-count: 1;"></span> (proximal and distance) to connect individuals and groups of people.</div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal"><i>Media and Ways of Knowing in Early Civilization</i></div><div class="MsoNormal">“An <a href="http://www.allsands.com/history/oraltraditionc_wpw_gn.htm">oral culture</a> without writing, print or electronic media, seems to be biased toward a particular pattern of sensory and expository capacity that encourages ways of seeing, hearing and indeed knowing that are remarkably different when other forms of communication are more prominent” <span style="mso-no-proof: yes;">(<a href="http://en.wikipedia.org/wiki/Wick_Rowland">Rowland</a>, 2007, p. xii).</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXyAL9iaUhooZMC5id3e6k12LVD2sCY53J_8Qs3gB5pvvCmQjAEkGa3I2ZnVzwE_pl4f4bu2MYBVnSN_bpl0B4j72Af5m5bC145XF0fiirCW_P4qMwQydoruqfcpC9gCPsab_GFZnmyJg/s1600/oral%252C+narrative.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXyAL9iaUhooZMC5id3e6k12LVD2sCY53J_8Qs3gB5pvvCmQjAEkGa3I2ZnVzwE_pl4f4bu2MYBVnSN_bpl0B4j72Af5m5bC145XF0fiirCW_P4qMwQydoruqfcpC9gCPsab_GFZnmyJg/s400/oral%252C+narrative.jpg" width="400" /></a></div><div class="MsoNormal"><br />
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</style> <div class="MsoNormal">Mankind began to communicate with each other by imitating images they saw with drawings on cave walls and scratching in the sand. Oral cultures require people to be in close proximity to each other for learning and dissemination of knowledge through <a href="http://www.virtualmuseum.ca/Exhibitions/Holman/english/storytelling/index.php3">story telling</a> and narratives. Proximity required people to be in close physical space with each other and participate in groups/tribes to survive and disseminate knowledge and create innovation together.<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">The physical pace of life would be slow, the opportunity to share and co-create with people and cultures not in their own tribe few and far between due to the distance of physical geography, lack of transportation and lack of numbers of people.<span style="mso-spacerun: yes;"> </span>Stories, memorization and music were a way to bridge space and time and pass culture and knowledge through generations. <a href="http://www.shirky.com/weblog/">Shirky</a> (2008) defines a community of practice as “ a group of people who converse about some shared task in order to get better at it” (pg 100). It requires the conversation between a group of people to create and share knowledge. Conversational knowledge creation is suitable for environments where<span style="mso-spacerun: yes;"> </span>“the knowledge is not centralized, but resides with multiple owners who may be located far apart” <span style="mso-no-proof: yes;">(Wagner, 2004, p. 266)</span>. While Wagner is referring to knowledge management in today’s world of globalization and social media it is relevant to a time period on history of a culturally diverse, geographically isolated oral and auditory civilization.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Cambria; font-size: 12pt;"><i>Text and permanent recording of Knowledge</i> </span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal"> <style>
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</style> </div><div class="MsoNormal"><span style="font-family: "Times New Roman";">The use of text was originally used as a form of accounting or counting for business. Innovation and creativity are typically driven by survival but also by markets and business as organizations of varying strengths and sizes.<span style="mso-spacerun: yes;"> </span>Knowledge develops and is created by communities of internal networks and structures through relationships, trust and social capital <span><span style="mso-no-proof: yes;">(Prusak, 2001)</span></span></span> The well known ‘ a man is as good as his word” his reputation and ability to be trusted while still relevant, was critical in pre oral and oral and early literate cultures. <span style="mso-spacerun: yes;"> </span>The creation of new knowledge is through the combination and exchange of tacit and explicit knowledge at the intellectual and social level of individuals and organizations <span style="mso-no-proof: yes;">(Nahapiet & Ghoshal, 1998)</span>. <span style="font-family: "Times New Roman";">“ Most of the world’s early civilizations came into being using writing as their dominant medium of communication” <span style="mso-no-proof: yes;">(Crowley & Heyer, 2007, p. 4). Writing and literacy provided a new method of transmitting knowledge across space and time. Writing could be a method of transmitting information or instructions from an individual or through letter writing between individuals. Writing and literacy created a decrease in value on more traditional forms of knowledge and invested greater power and information in those that were literate in reading and writing. A more permanent form of media on clay tablet, papyrues and paper that kept knowledge and information that could be referred back to and kept records of.<span style="mso-spacerun: yes;"> </span>Paper is light and portable allowing an increase of information, knowledge to be transported across physical geography over periods of time<span><span style="mso-spacerun: yes;"> </span>(Crowley & Heyer, 2007)</span></span>. </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJgzUlQgoy31yedLEpoHNhPTxBjlgDp8zt4aKvNsd-pDInhv46zVHX4a5uiP3EXpQXBJgPhgT2nxyjAUcn08SyQteFaM7B4GWgYswDPKkZqJ75rITz6CnBZJrodZQolsYMTk8Qt3Arow/s1600/Manuscript.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJgzUlQgoy31yedLEpoHNhPTxBjlgDp8zt4aKvNsd-pDInhv46zVHX4a5uiP3EXpQXBJgPhgT2nxyjAUcn08SyQteFaM7B4GWgYswDPKkZqJ75rITz6CnBZJrodZQolsYMTk8Qt3Arow/s400/Manuscript.gif" width="295" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Times New Roman";">Those who could read and write and afford books became the keepers of knowledge and power. Information and knowledge in the form of the book and manuscript became powerful and communities of practice that formed around this medium were those of the aristocracy, the courts, the church, religions that co-created knowledge to the benefit of those on power. Information was transmitted to the general population and the population was controlled through information and not encouraged to participate in church and government.The social capital and networks in the writing age were through very specific institutions and the people in those institutions.</span>Nahapiet and Ghosal (1998) identify networks of relationships as the central proposition of social capital and that<span style="mso-spacerun: yes;"> </span>‘much of the capital is embedded within networks of mutual acquaintance and recognition”<span style="mso-no-proof: yes;">(Nahapiet & Ghoshal, 1998, p. 243). </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span><i>The Beginning of Mass Media</i> </span></div><div class="MsoNormal"> <style>
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</style> </div><div class="MsoNormal">The Printing Press was the start of mass media, text literacy, the education system. It provided a method of disseminating information to people, control of consistent messaging by governments. Printing provided the opportunity and access to information to everyone, and the interpretation of that information was now able to be formed by the individual and not the elite. COP’s were able to form around ideas and ideology from the same information (books).<span style="mso-spacerun: yes;"> </span>Printing increased every man’s range in time and space, bringing together times past and times to come, near and distant, peoples long dead and peoples still unborn”<span style="mso-no-proof: yes;"> (Mumford, 2007, p. 94). Information and knowledge becomes increasingly moveable by sharing books and discussing books decreasing the limitations of geography and space. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span> Guttenberg and the impact of the Printing Press</span></div> <span></span><br />
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</style> </div><div class="MsoNormal"><span style="mso-no-proof: yes;">Reading as noted by McLuhan and more recently Jenkins and Logan is a solitary pursuit , done by an individual.<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "Times New Roman";">Creating knowledge and shared learning is located through social practices. Relationships are comprised of social practices and interactions. Interactions build social capital for individuals and build the dense and loose networks that provide the sharing of personal and organizational resources<span><span style="mso-no-proof: yes;"><span style="mso-spacerun: yes;"> </span>(<a href="http://borndigitalbook.com/authors.php%20%20%20">Palfrey & Gasser</a>, 2008)</span></span></span><span><span style="mso-no-proof: yes;"><span style="mso-spacerun: yes;"> </span>(Holden, 2001)</span></span><span><span style="mso-no-proof: yes;"><span style="mso-spacerun: yes;"> </span>(Nowotny, Scott, & Gibbons, 2003)</span></span>. <a href="http://borndigitalbook.com/authors.php"><span style="font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"></span></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-spacerun: yes;"></span>As a media the printing press disseminated information to people. As a solitary medium there are significant transactional costs geographically, time and cost to form COP to create knowledge using books and the printing press <span><span style="mso-no-proof: yes;">(<a href="http://www.shirky.com/weblog/">Shirky</a>, 2008)</span></span></span>.</div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal"><i>The Telegraph, the Telephone, the Radio and Movies</i></div><div class="MsoNormal"> <style>
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</style> </div><div class="MsoNormal">Electricity then allowed the development of media that didn’t rely on the transportation of the media but media that was transmitted to individuals <span><span style="mso-no-proof: yes;">(Crowley & Heyer, 2007)</span></span>.<span style="mso-spacerun: yes;"> </span>The telegraph provided one way transmission of information, the telephone synchronous two way transmission of voice, the radio one way auditory transmission, movies and TV one way transmission of visual and voice information and entertainment. This allowed the development of reading public, mass society, no longer local and regional, but now inclusive of national and global information <span style="mso-no-proof: yes;">(Crowley & Heyer, 2007). The world becomes smaller as people become more aware of the world around them. Movies and TV bring back a form of the oral, narrative story-telling and revive images as photography to help disseminate the information and tell the stories. There are many ways of getting information to people syncronously across time and space, but the transaction costs of physical participation geographically remained high. COP remain localized in larger urban and community centers.<span style="mso-spacerun: yes;"> </span></span>“ The lower the human density had been in rural areas, the stronger the social emphasis had been on conventionality, fellow feeling and cohesion. But in cities, the higher the density became, the greater was the impersonality and normlessness” <span>(Fowles, 2007). The available social capital in both urban and rural communities remained low as media used was one dimensional and used primarily to convey information, not to create co-create and participate in knowledge creation. </span>Nahapiet & Ghosal (1998) define social capital as: "the sum of the actual and potential resources embedded within, available through, and derived from the network of relationships possesses by an individual or social unit. Social capital thus comprises both the network and the assets that may be mobilized through the network" <span style="mso-no-proof: yes;">(p. 243)</span>.<span style="mso-spacerun: yes;"> </span></div><br />
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</style> </div><div class="MsoNormal"><a href="http://marshallmcluhan.com/biography/">Marshall McLuhan</a> – The World is a Global Village</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/HeDnPP6ntic?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal"> </div><div class="MsoNormal"><span style="font-family: "Times New Roman"; mso-no-proof: yes;"><i>Back to the Future </i></span> </div><div class="MsoNormal"> <style>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">Technology and the pace of change and innovation in social media are changing the way</div><div class="MsoNormal">we communicate socially. As Clay <a href="http://www.shirky.com/bio.html">Shirky </a>states, “ When we change the way we communicate, we change society”<span style="mso-spacerun: yes;"> </span><span style="mso-no-proof: yes;">(<a href="http://www.shirky.com/bio.html">Shirky</a>, 2008, p. 17)</span>.“Yet a new language is rarely welcomed by the old.The oral tradition distrusted writing, manuscript culture was contemptuous of printing, book culture hated the press” <span style="mso-no-proof: yes;">(<a href="http://www.culturalequity.org/alanlomax/ce_alanlomax_profile_carpenter.php">Carpenter</a>, 2007, p. 256)</span>.The new language of social media is certainly a language many are still uncomfortable with, but many are making great profits from.Technologies that can be accessed asynchronously without geographic or time constraints (across time and space) can be used to develop and standardize communication streams, build social capital and strengthen and develop diverse organizational relationships<span style="mso-no-proof: yes;"> (Cooley, Hebling, & Fuller, 2003)</span> <span style="mso-no-proof: yes;">(McWilliam, 2000) (Baker, 2003)</span>. Communication allows for bidirectional or multidirectional feedback that maintains an open system capable of change and adaptation.Knowledge is created when it is used interactively within an environment to create an action <span style="mso-no-proof: yes;">(Cook & Brown, 1999)</span>. Individual and group interactions create different knowledge and can be combined and internalized and codified into many different types of new knowledge. Lawrence <a href="http://www.blogger.com/goog_277458178">Lessig</a><span style="mso-spacerun: yes;"><a href="http://www.lessig.org/blog"> </a> </span>writes that the contemporary communication network forms an innovation commons, a place and space where creativity can thrive. <span style="font-family: "Times New Roman";">Organizations, communities and teams need to be able to capture and utilize formal and informal networks to maximize the creation of social capital <span style="mso-no-proof: yes;">(Nahapiet & Ghoshal, 1998)</span>. </span>“Social media offer new ways of collecting, sharing and finding information and knowledge using in information systems ”<span style="mso-no-proof: yes;"> (Luoma & Okkonen, 2009, p. 332)</span>. </div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"><span style="font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">The well known participatory Web 2.0 and technology has created the opportunity for every<span style="mso-spacerun: yes;"> </span>digital native <span style="mso-spacerun: yes;"> </span>and immigrant to collaborate and participate in creation. <a href="http://borndigitalbook.com/authors.php%20">Palfrey and Gasser </a></span><a href="http://borndigitalbook.com/authors.php"><span style="font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"></span></a><span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>(2008) argue that this new interactivity is engaging youth at unprecedented levels in creating entertainment, knowledge and information. Most of us now have a virtual and physical identity that we occupy geographically and across time and space and we use both to communicate and co-create.</span><span style="mso-no-proof: yes;">The <span style="mso-spacerun: yes;"> </span>Digital natives do not <span style="mso-spacerun: yes;"> </span>differentiate between their digital identity and their private identity as discussed and reviewed in the book <a href="http://borndigitalbook.com/">Born Digital</a></span><a href="http://borndigitalbook.com/"><span style="mso-no-proof: yes;"></span></a>. Clay<a href="http://www.shirky.com/weblog/"> Shirky</a> follows the rise of the Internet, Web 2.0, privacy, copyright, digital technology and creativity. His book ‘<a href="http://www.herecomeseverybody.org/%20">Here Comes Everybody</a>’<span style="mso-spacerun: yes;"> </span>focuses on groups, group formation and how ‘everybody’ is influenced and impacted by digital technology. “ Conversational knowledge creation has emerged as the most popular way to create knowledge, largely in the context of online or virtual communicates. Conversational knowledge returns us to the oral culture of learning from each other in close proximity but it’s not the same oral culture.</div><span style="font-family: "Times New Roman"; mso-no-proof: yes;"> </span> <div class="MsoNormal">An updated definition of a virtual COP by Yates, Wagner & Maajchrzak (2010) becomes pertinent. They <span style="mso-spacerun: yes;"></span>define virtual communities of practice in an organization as “ a collective of voluntary knowledge contributors, distributed across traditional organizational boundaries, which enables members to share insights, experiences, and practical knowledge”. An organization may be a local community, global corporation, national government, global team of health researchers, interested group of students that can now collaborate across different traditional boundaries of geography, time and space as envisioned by <a href="http://marshallmcluhan.com/biography/">McLuhan</a>, <a href="http://www.media-studies.ca/articles/innis.htm">Innis</a>, <a href="http://www.shirky.com/weblog/">Shirky</a>, <a href="http://www.lessig.org/blog/">Lessig</a> and <a href="http://www.henryjenkins.org/">Jenkins </a>(to mention a few), to have the conversations that create new knowledge and learning . This is now happening at ‘warp speed’ creating enormous amounts of valuable and not so valuable information and knowledge development<span style="mso-spacerun: yes;"> </span>collaboratively and globally. The social media has brought back traditional forms of learning such as orality, the narrative, imaging, text and auditory<span style="mso-spacerun: yes;"> </span>in combinations that can provide the ability to learn and develop knowledge to all , at a instantaneous speed that creates enormous possibilites and problems in the ability to comprehend the social changes it influences. The choice and ability to use media<span style="mso-spacerun: yes;"> </span>is altering our ability and choices in participation in society, globally and “<span style="font-family: "Times New Roman";">establish loose and densely connected networks to collect and share knowledge that builds innovation and creativity that recognizes the strength of building collective knowledge” <span style="mso-spacerun: yes;"> </span><span style="mso-no-proof: yes;">(Watson & Harper, 2008; Nahapiet & Ghoshal, 1998) not possible prior to the Internet. </span></span>“ Media, <a href="http://www.media-studies.ca/articles/innis.htm">Innis</a><span style="mso-spacerun: yes;"> </span>proposed, can never be truly neutral within the human environment. By their very application media refashion the choices, the pre-occupations, and the interactions of individuals and give shape to the form that knowledge takes in society and to the way in which it circulates" <span style="mso-no-proof: yes;">(Crowley & Heyer, 2007, p. 300).</span></div><div class="MsoNormal"><span><br />
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<div class="MsoNormal"> A New Way for Knowledge</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/W0fJKvdjQgs?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal"><i>Authors and Sites of Interest</i></div><br />
<div class="MsoNormal">TED Talks – <a href="http://www.youtube.com/watch?v=NugRZGDbPFU">Where Good Ideas Come From by Steven Johnson</a> – creating the space and connections for innovation and creativity </div><div class="MsoNormal">Sept 2010 </div><div class="MsoNormal"><a href="http://www.jstor.org/pss/259373">Nahapiet and Ghosal, 1998</a> </div><div class="MsoNormal"> </div><div class="MsoNormal"><a href="http://www.pbs.org/mediashift/%20">Mediashift PBS Mark Glasser</a></div><div class="MsoNormal"><a href="http://www.henryjenkins.org/">Henry Jenkins Blog</a></div><div class="MsoNormal"><a href="http://www.shirky.com/weblog/">Clay Shirky Blog</a></div><div class="MsoNormal"><a href="http://www.lessig.org/blog/">Lawrence Lessig Blog</a></div><div class="MsoNormal"><a href="http://sirkenrobinson.com/skr/who">Sir Ken Robinson</a>’s<span style="mso-spacerun: yes;"> </span>Lecture<span style="mso-spacerun: yes;"> </span>“<span style="mso-spacerun: yes;"> </span><a href="http://www.youtube.com/watch?v=iG9CE55wbtY">Do schools kill Creativity?"</a></div><div class="MsoNormal">Jan 6, 2007</div><div class="MsoNormal"><a href="http://en.wikipedia.org/wiki/Wick_Rowland">Wick Rowland </a></div><div class="MsoNormal"><br />
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</style> <h1>Works Cited<span style="color: windowtext; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Cambria; mso-fareast-font-family: Cambria; mso-hansi-font-family: Cambria;"></span></h1><div class="MsoBibliography"><span style="mso-no-proof: yes;">Baker, K. A. (2003). <i style="mso-bidi-font-style: normal;">Chapter 13 Organizational Communication.</i> Retrieved 2009 йил 17-November from http://www.au.af.mil/au/awc/awcgate/doe/benchmark/ch13.pdf</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Carpenter, E. (2007). The New Languages. In D. Crowley, & P. Heyer, <i style="mso-bidi-font-style: normal;">Communication in History</i> (pp. 254- 259). Boston, MA, USA: Pearson Education Ltd.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Cook, S., & Brown, J. (1999). Bridging epistemologies: the generative dance between organizational knowledge and organizational knowing. <i style="mso-bidi-font-style: normal;">Organization Science</i> <i style="mso-bidi-font-style: normal;">, 10</i> (4), 381-400.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Cooley, R., Hebling, C., & Fuller, U. (2003). Suggestion Schemes and Communication. <i style="mso-bidi-font-style: normal;">British Academy of Management</i> (pp. 1 -14). Leeds Business School.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Crowley, D., & Heyer, P. (2007). <i style="mso-bidi-font-style: normal;">Communication in History</i> (Fifth Edition ed.). Boston: Pearson Education Inc.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Daft, R., & Armstrong, A. (2009). <i style="mso-bidi-font-style: normal;">Organization theory & design</i> (Vol. 1). Nelson Education Ltd.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Fowles, J. (2007). Mass Media and the Star System. In D. Crowley, & P. Heyer, <i style="mso-bidi-font-style: normal;">Communication in History</i> (pp. 190-191). Montreal: Pearson.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Holden, N. (2001). KNowledge Management: Rasing the Spectre of the Crosscultural Dimension. <i style="mso-bidi-font-style: normal;">Knowledge and Process Management</i> , 155-163.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Jenkins, H. (2006, June 19). <i style="mso-bidi-font-style: normal;">Convergence Culture</i>. Retrieved February 28, 2011, from ACA-Fan Official Weblog of Henry Jenkins: http://www.henryjenkins.org/2006/06/welcome_to_convergence_culture.html</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Lessig, L. (2001). <i style="mso-bidi-font-style: normal;">The future of ideas.</i> New York: Random House.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Logan, R. (2007, August 6). <i style="mso-bidi-font-style: normal;">The 14 Messages of New media</i>. Retrieved October 17, 2010, from Mediashift: http://www.pbs.org/mediashift/2007/08/the-14-messages-of-new-media218.html</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Luoma, S., & Okkonen, J. (2009). Capturing competence-using wiki for transferring tacit knowledge. <i style="mso-bidi-font-style: normal;">Proceedings of the European Conference on Inellectual Capital</i> (pp. 329-336). Finland: Academic Conferences, Ltd.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">McWilliam, G. (2000 йил Spring). Building stronger brands through online communities. <i style="mso-bidi-font-style: normal;">Sloan Management Review</i> , 43-54.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Mumford, L. (2007). The Invention of Printing. In D. Crowley, & P. Heyer, <i style="mso-bidi-font-style: normal;">Communication in History</i> (pp. 91- 95). Montreal: Pearson.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Nahapiet, J., & Ghoshal, S. (1998). Social capital, intellectual capital, and the organizational advantage. <i style="mso-bidi-font-style: normal;">Academy of Management Review</i> <i style="mso-bidi-font-style: normal;">, 22</i> (2), 242-266.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Nowotny, H., Scott, P., & Gibbons, M. (2003). Introduction. In H. Nowotny, P. Scott, & M. Gibbons, <i style="mso-bidi-font-style: normal;">Minerva</i> (pp. 179-194). Amsterdam: Kluwer Academic Publishers.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Palfrey, J., & Gasser, U. (2008). <i style="mso-bidi-font-style: normal;">Born Digital.</i> New York: Basic Books.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Prusak, L. (2001). Where did knowledge management come from. <i style="mso-bidi-font-style: normal;">IBM Systems Journal</i> <i style="mso-bidi-font-style: normal;">, 40</i> (4), 1002-1007.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Rowland, W. (2007). Foreward. In D. Crowley, & P. Heyer, <i style="mso-bidi-font-style: normal;">Communication in History</i> (Fifth Edition ed., pp. xi-xiii). Montreal: Pearson.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Shirky, C. (2008). <i style="mso-bidi-font-style: normal;">Here Comes Everybody.</i> New York, New York, USA: The Penguin Group.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Wagner, C. (2004). Wiki: a technology for conversational knowledge management and group collaboration. <i style="mso-bidi-font-style: normal;">Communications of the Association for Information Systems</i> <i style="mso-bidi-font-style: normal;">, 13</i>, 265-289.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Watson, K., & Harper, C. (2008 йил 5-February). <i style="mso-bidi-font-style: normal;">Supporting Knowledge Creation - Using Wikis for Group Collaboration.</i> Retrieved 2010 йил 22-May from Educause Center for Applied Research: http://www.caudit.edu.au/educauseaustralasia07/authors_papers/Watson-112.pdf</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Weiner, N. (2007). Cybernetics in History. In R. Craig, & H. Muller, <i style="mso-bidi-font-style: normal;">Theorizing Communication</i> (pp. 267-273). Thousand Oaks, California, USA: Sage Publications Inc.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Wellman, B., Haase, A., Witte, J., & Hampton, K. (2001, November). Does the Internet Increase, Decrease or Supplement Social Capital? <i style="mso-bidi-font-style: normal;">American Behavioral Scientest</i> , 437-456.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Wenger, E. (2006, June ). <i style="mso-bidi-font-style: normal;">Communities of Practice Introduction</i>. Retrieved March 20, 2011, from Communities of Practice: http://www.ewenger.com/theory/</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Wenger, E., & Snyder, W. (2000 January-February). Communities of practice: the organizational frontier. <i style="mso-bidi-font-style: normal;">Harvard Business Review</i> , 139 -145.</span></div><div class="MsoBibliography"><span style="mso-no-proof: yes;">Yates, D., Wagner, C., & Majchrzak, A. (2010). Factors affecting shapers of organizational wikis. <i style="mso-bidi-font-style: normal;">Journal of the American Society for Information Science and Technology</i> <i style="mso-bidi-font-style: normal;">, 61</i> (3), 543-554.</span></div><div class="MsoNormal"><br />
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</div>Carolyn Trumperhttp://www.blogger.com/profile/00511646777050474271noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-27777732831714671162011-04-02T16:31:00.124-06:002011-04-14T20:44:45.857-06:00Printing Press and Internet Impact on Social Relationships<span style="color: black; font-family: arial;">Publishing is defined as, "the process of production and dissemination of literature or information—the activity of making information available to the general public. Traditionally, the term refers to the distribution of printed works such as books and newspapers. With the advent of digital information systems and the Internet, the scope of publishing has expanded to include electronic resources” (</span><a href="http://en.wikipedia.org/wiki/Publishing"><span style="color: #000099; font-family: arial;">Wikipedia</span></a><span style="color: black;"><span style="font-family: arial;">). </span></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: arial;"><span style="color: black;">Throughout the centuries publishing technologies have continued to evolve. Technology has contributed to making publishing widely accessible and has aided in the reinterpretation of all aspects of society including how and when we interact socially. <span lang="EN">Publishing technologies change the way a society behaves and communicates, because it is society which reacts to the environment. </span>A good example of a publication technology that made society react is the creation of Johannes Gutenberg's</span><span style="color: #000099;"> </span><a href="http://kevtab.blogspot.com/2010/09/printing-press-internet-press.html"><span style="color: #000099; font-family: Arial;">printing press</span></a><span style="color: black;"><span style="font-family: Arial;"> (pictured below) </span>in the mid 15<sup>th</sup> century. The press impacted society politically, educationally, and socially and is considered one of the major inventions during the Middle Ages. Without the invention of the press it is hard to predict where the publishing industry would be today. </span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial;"></span></div><img alt="" border="0" id="BLOGGER_PHOTO_ID_5592350427056572914" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjAFMlDmGFoX9c7dT1RAZ6jlOzApoKaZnQStS1wcAJxKmpVrzkY_v6xHyqMB5A5BQ14zyFVx5uC_Xs0u6qUrDpNcVc2bEzETOeKilcnc_RWUzgPOZ3SZLwX2_PIFIvrbk11k86i1WHQ90/s320/Printing+Press.jpg" style="cursor: hand; display: block; height: 262px; margin: 0px auto 10px; text-align: center; width: 235px;" /> <br />
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<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="color: black; font-family: arial;">The first successful press was built in 1440, and it was a hand press, in which ink was rolled over the raised surfaces of movable hand-set block letters held within a wooden form and the form was then pressed against a sheet of paper (</span><a href="http://www.blogger.com/inventors.about.com/library/inventors/bl_history_of_communication.htm"><span style="font-family: arial;">Bellis</span></a><span style="color: black; font-family: arial;">).The first document to be printed was the Bible in 1455 and the publication of books, magazines, and newspapers followed twenty years later. </span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span lang="EN"><span style="font-family: 'Times New Roman';"><span style="font-family: arial;"><span style="color: black;">The </span><a href="http://en.wikipedia.org/wiki/History_of_books"><span style="color: black;"><span style="color: #000099;">Western book</span> </span></a><span style="color: black;">was no longer a single object, written or reproduced by request. The publication of a book became an enterprise, requiring capital for its realization and a market for its distribution. The book and other publications impacted </span></span></span></span></span></span><span style="font-family: Arial, sans-serif;"><span style="color: black; font-family: arial;">social relationships because of the increased opportunity for social interaction. Not everyone could afford to buy books as paper was expensive, so people gathered at coffee houses where books, newspapers and magazines were available. People would read and then gather with others for intellectual discussions. It gave people access to information which increased sharing of knowledge, self-expression and communication. </span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;">During the Middle Ages a high percentage of people were illiterate as education was for the wealthy people only. The printing press gave the </span><a href="http://en.wikipedia.org/wiki/Common_people"><span style="color: #000099;">common people</span></a><span style="color: black;"> the opportunity to learn as well. This elevated the common people's status which changed social relationships. Common people now had opinions so they were able to interact with people in a different class or amongst their own social class. </span></span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="color: black; font-family: arial;">The publishing of books eventually created a standardized language so now people could communicate in the same language which also increased social interaction. Anyone could publish their ideas in books, newspapers or magazines which increased equality, which led to different social classes interacting. </span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;">Gutenberg’s printing press inspired others to create presses and eventually books, magazines and newspapers were accessible and affordable to buy by common people due to </span><a href="http://en.wikipedia.org/wiki/Supply_and_demand"><span style="color: black;">supply and demand</span></a><span style="color: black;">. The printing press continued to evolve and other technologies evolved over the next few centuries. Nothing was comparable to the creation of the printing press until the Internet in the mid-20th century. </span></span></span></div><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;"><br />
</span></span></span><br />
<div style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;">The invention of the internet cannot be attributed to one person. However, certain figures contributed major breakthroughs. "If any two people “invented the Internet," it was Bob Kahn and Vint Cerf. In 1972 they invented the Transmission Control Protocol (TCP) which moves data on the modern internet. They went on to develop the IP Protocol" (<a href="http://technology.timesonline.co.uk/tol/news/tech_and_web/article4823707.ece"><span style="color: #3333ff;">Times Online</span></a><span style="color: #3333ff;">).</span></span></span></span></span></span></span></div><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;"><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">The Internet has made and is continuing to make a significant impact on society similar to the printing press. Like the printing press, the internet has changed how and when we interact socially. The internet continues to grow in usage and users. According to <a href="http://http//www.pewinternet.org/Static-Pages/Trend-Data/Internet-Adoption.aspx"><span style="color: #000099;">PEW Internet</span></a><span style="color: black;"> the study indicates that internet users has increased from 10% to 80% in the last 15 years.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP8fPSXEn8qiW5BvoCBQVViPJQeA-OBQMwEW6pUhvzSsSHxdJAFh5WR_sty35LG5H4KuGJ0dxRhuiElTChzIoL-yf27eqLn_ENlsNNaXszcdDMtLAKAq1y0NaUBvsSK1iXBzd621qypzmi/s1600/Internet%252520Adoption%252520over%252520time%252520-%252520as%252520of%252520May10+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP8fPSXEn8qiW5BvoCBQVViPJQeA-OBQMwEW6pUhvzSsSHxdJAFh5WR_sty35LG5H4KuGJ0dxRhuiElTChzIoL-yf27eqLn_ENlsNNaXszcdDMtLAKAq1y0NaUBvsSK1iXBzd621qypzmi/s320/Internet%252520Adoption%252520over%252520time%252520-%252520as%252520of%252520May10+3.jpg" width="320" /></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black;"><br />
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<div style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: arial;"><span style="color: black;">The internet has been around since 1969 so it is difficult to imagine that in 1994 the majority of the people still did not know what the internet was. Current "Today" show host, </span><a href="http://marquee.blogs.cnn.com/2011/01/31/today-flashback-katie-couric-whats-an-internet"><span style="color: #000099;">Matt Lauer</span></a><span style="color: black;">, aired the below </span><a href="http://www.youtube.com/watch?v=JUs7iG1mNjI"><span style="color: #000099;">Youtube video</span></a><span style="color: black;"> on when 1994 Today's hosts were asking what was the internet. Matt commented, "It's easy to laugh now, but we all felt that way. It was a mystery to all of us". Today, the internet is part of everyone's day to day life activities. The internet is the main source of how we interact with others. Matt's comments are true so this is why I think it is important to remember the history of the internet and what would we do without it?</span></span></span> </div><iframe frameborder="0" height="390" src="http://www.youtube.com/embed/JUs7iG1mNjI" style="height: 388px; width: 545px;" title="YouTube video player" width="640"></iframe><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black; font-family: Arial, sans-serif;">The internet has created a significant shift in the way that we develop and interact socially in the last few years. Youth are the majority of internet users and they rarely pick up a land-line or cell phone to communicate with friends and family.They "<a href="http://us.blackberry.com/apps-software/blackberrymessenger/">BBM</a>", text, use social media sites, or email.</span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="color: black;">In the early days of internet some felt that the internet was having a negative impact on social relationships. Prior to text messaging, Facebook, and Twitter, </span><a href="http://www.cs.cmu.edu/~kraut/RKraut.site.files/articles/kraut98-InternetParadox.pdf"><span style="color: #000099;">Kraut et al.</span></a><span style="color: black;"> wrote about the Internet Paradox which states, "greater use of the internet was associated with declines in communication between family members in the house, declines in the size of their social circle, and increases in their levels of depression and loneliness." </span></span><span style="color: black; font-family: Arial, sans-serif;">Other studies concluded that the internet creates a sterile and negative form of social exchange and communication which in turn could lead to the crumbling of community and society. </span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="font-family: Arial, sans-serif;"><a href="http://www.accessmylibrary.com/article-1G1-84538314/can-you-see-real.html"><span style="color: #000099;">Bargh and McKenna</span></a><span style="color: black;"> note that some scholars feel the internet provides a positive venue for social interaction that allows individuals and groups to connect in ways they would not otherwise. </span></span><span style="color: black;">The latest research has shown that the conclusions are opposite of what was previously concluded in Kraut's research. </span></span><span style="font-family: Arial, sans-serif;"><span style="color: black;">In his later follow-up research, </span><a href="http://www.cs.cmu.edu/~kraut/RKraut.site.files/articles/kraut02-paradox-revisited-16-20-2.pdf"><span style="color: #000099;">Kraut et al (2002)</span></a><span style="color: black;"> found that study participants who used the internet were more likely to have an increase in: </span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black; font-family: Arial, sans-serif;">1. The size of their local and distant social circles.</span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black; font-family: Arial, sans-serif;">2. Their face-to-face interaction with friends and family</span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black; font-family: Arial, sans-serif;">3. Community activity involvement </span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><span style="color: black;">4. Trust in people <o:p></o:p></span></span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;"><o:p><span style="font-family: Arial, sans-serif;"><o:p>The</o:p></span><span style="font-family: Arial, sans-serif;"> <a href="http://http//www.digitalcenter.org/pdf/2010_digital_future_final_release.pdf"><span style="color: #000099;">Digital Future Study</span></a>, backs Kraut research as the study shows more than half of the people surveyed said the internet was important or very important tool in maintaining social relationships. </span><span style="font-family: Arial, sans-serif;"></span><span style="font-family: Arial, sans-serif;"></span><span style="font-family: Arial, sans-serif;"><o:p></o:p></span>Some reasons for the change of research is there is an increase in the social media platforms available, internet usage has increased and people are more aware and comfortable with the use of the on-line tools. Another reason is because people are substituting previous activities for time spent on the internet. For example chatting with friends on the internet has replaced talking on the phone. </o:p></span><span style="font-family: Arial, sans-serif;"><o:p>Another way in which social relationships have changed is people meeting on-line instead of at public venues. <a href="http://en.wikipedia.org/wiki/Minitel"><span style="color: #000099;">Minitel</span></a><span style="color: #000099;">,</span>described in the below video, was developed in the early 1980's and was a critical moment as this lead to developing on-line chat rooms.</o:p></span></span> </div><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><o:p><span style="color: red;"><span style="color: black;">.</span></span></o:p></span><span style="font-family: Arial, sans-serif;"><o:p><span style="color: red;"><span style="color: black;"><iframe frameborder="0" height="390" src="http://www.youtube.com/embed/F7O4uMRADB8" title="YouTube video player" width="480"></iframe></span></span></o:p></span></div><br />
<span style="color: black;"><span style="font-family: Arial, sans-serif;"><o:p>Today there are many on-line dating sites and other sites if you are interested in meeting people with similar interests. Friendships are forming through social media sites such as Twitter and Facebook. The internet enables people to meet others with similar interests in a comfortable environment. </o:p></span><span style="font-family: Arial, sans-serif;"><span style="font-family: Arial, sans-serif;"><a href="http://www.digitalcenter.org/pdf/2010_digital_future_final_release.pdf"><span style="color: #000099;">Digital Future Study</span></a> shows that there has been an increase in on-line friends becoming in-person friends. <span style="font-family: Arial, sans-serif;">Internet users in 2000 reported an average of less than one person who they originally connected with online and then later met in person. Since then, the average has risen steadily, and in the current Digital Future Study has reached 2.5 people.</span></span></span></span> <span style="color: black;"><span style="font-family: Arial;">Even though earlier studies have shown that social interaction was predicated to decrease, later studies have contradicted those findings. Today, we can observe that social interaction has increased, not decreased, just the tools have changed.</span> <span style="font-family: arial;">The internet has provided many positive opportunities for people to develop new social relationships and to maintain friendships when there are barriers such as geographical. </span></span><span style="color: black; font-family: Arial, sans-serif;"></span><br />
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<span style="color: black; font-family: Arial, sans-serif;">According to Clay, "Publishing used to require access to a printing press, and as a result the act of publishing something was limited to a tiny fraction of the population. Now, once a user connects to the internet, he has access to a platform that is at once global and free". This statement is true but <span style="color: black; font-family: Arial, sans-serif;">the internet and printing press have both made a significant difference in the publishing industry even though the internet reaches the world in an instant. I</span>f the printing press was not invented, there would be no mass production of books, people would continue to be illiterate and no-one would of created the internet as no-one would be able to use it. The internet is text heavy so internet users would have to know how to read and write. <span style="color: black; font-family: Arial, sans-serif;">Once the book was able to be mass produced, society evolved socially,politically etc. If there was not this flow of development, society would not have evolved to where we are today. </span></span><br />
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<div class="MsoNormal" style="margin: 0in 0in 0pt;"><i><span style="font-family: Arial, sans-serif;"><span style="color: black;">Question to ponder after completing this blog: The first record of coffee being served in a public place dates back to 1475 in Turkey. Coffee shops started to slowly pop up around the world. The mass production of books started around this time. </span><span style="color: black;">People gathered at coffee houses to in order to have access to books, so did the printing press also contribute to the success of coffee houses? </span></span></i></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><i><span style="font-family: Arial, sans-serif;"><span style="color: black;"><br />
</span></span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWffakZbmmErOPJj6pjg1r8CsRA2OoAOjJa-sj0eyunnbM-AnloRphBnCO_ml0e3OTtMb_G_14MW6YEX2pRWsHn9IO1t6EFjHiU4MNQKNKd0ZQD0N-ZNsdP8RyuLQLDhk3hJAs_7uNBb7k/s1600/MACT+Pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWffakZbmmErOPJj6pjg1r8CsRA2OoAOjJa-sj0eyunnbM-AnloRphBnCO_ml0e3OTtMb_G_14MW6YEX2pRWsHn9IO1t6EFjHiU4MNQKNKd0ZQD0N-ZNsdP8RyuLQLDhk3hJAs_7uNBb7k/s1600/MACT+Pic.jpg" /></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><i><span style="font-family: Arial, sans-serif;"><span style="color: black;"><br />
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</span></i></strong><div class="MsoNormal" style="margin: 0in 0in 0pt;"><strong><i><span style="color: black;">Works Cited and other interesting sites:</span></i></strong></div><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">Bargh JA, 2002. McKenna KYA, Fitzsimons GM. 2002. "</span><span style="font-family: Georgia, serif;"><a href="http://www.accessmylibrary.com/article-1G1-84538314/can-you-see-real.html"><span style="font-family: Arial, sans-serif;">Can you see the real me? Activation and expression of the 'true self' on the Internet</span></a></span><span style="font-family: Arial, sans-serif;">." <em><span style="font-family: Arial, sans-serif;">Journal of Social Issues.</span></em> </span></span></div><span style="color: black;"></span><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">Bellis, M. (2009). </span><span style="font-family: Georgia, serif;"><a href="http://inventors.about.com/library/inventors/b1JohannesGutenberg.htm"><span style="font-family: Arial, sans-serif;">Johannes Gutenberg and the Printing Press</span></a></span><span style="font-family: Arial, sans-serif;">. Available: http://inventors.about.com/library/inventors/b1JohannesGutenberg.htm. Last accessed April 5, 2011. </span><span style="font-family: Georgia, serif;"><o:p></o:p></span></span></div><span style="color: black;"></span><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">Bellis, M. (2009). ‘</span><span style="font-family: Georgia, serif;"><a href="http://inventors.about.com/library/inventors/bl_history_of_communication.htm"><span style="font-family: Arial, sans-serif;">The History of Communication</span></a></span><span style="font-family: Arial, sans-serif;">’. About Inc. http://inventors.about.com/library/inventors/bl_history_of_communication.htm. Last accessed April 5, 2011. </span><span style="font-family: Georgia, serif;"><o:p></o:p></span></span></div><span style="font-family: Arial, sans-serif;"><span style="color: black;"></span><br />
<div align="left"><span style="color: black;">Cartoon Stock. Photo retrieved from: </span><a href="http://www.cartoonstock.com/directory/i/internet_friends.asp"><span style="color: black;">http://www.cartoonstock.com/directory/i/internet_friends.asp</span></a><span style="color: black;"> </span></div><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">DiSalvo D. </span><span style="font-family: Georgia, serif;"><a href="http://neuronarrative.wordpress.com/2009/03/12/four-authors-respond-to-the-social-networking-controversy"><span style="font-family: Arial, sans-serif;">Four authors respond to the social networking controversy</span></a></span><span style="font-family: Arial, sans-serif;">. Neuronarrative [Internet]. March 12, 2009. Last accessed March 31, 2011. </span><span style="font-family: Georgia, serif;"><o:p></o:p></span></span></div><span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Georgia, serif;"><span style="color: black;">Harvey, M. (September 25, 2008). Who were the 'Fathers of the Internet'? Times Online. Retrieved from: </span><a href="http://technology.timesonline.co.uk/tol/news/tech_and_web/article4823707.ece"><span style="color: black; font-family: Arial, sans-serif;">http://technology.timesonline.co.uk/tol/news/tech_and_web/article4823707.ece</span></a><span style="color: black;"> <o:p></o:p></span></span></div><br />
<div style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"><o:p></o:p></span><span style="color: black;"><span style="font-family: Arial, sans-serif;">Kraut R, Kiesler S, Boneva B, Cummings J, Helgeson V, et al. 2002. "</span><span style="font-family: Georgia, serif;"><a href="http://www.cs.cmu.edu/~kraut/RKraut.site.files/articles/kraut02-paradox-revisited-16-20-2.pdf"><span style="font-family: Arial, sans-serif;">Internet paradox re-visited</span></a></span><span style="font-family: Arial, sans-serif;">." Journal of Social Issues.</span><span style="font-family: Georgia, serif;"><o:p></o:p></span></span></div><span style="font-family: Arial, sans-serif;"><br />
<div align="left"><span style="color: black;">Kraut, R. Patterson, M., Lundmark, V., Kiesler, S, Mukophadhyay,T & Scherlis, W. (1998). </span></div><span style="font-family: Georgia, serif;"><a href="http://www.cs.cmu.edu/~kraut/RKraut.site.files/articles/kraut98-InternetParadox.pdf"><span style="color: black; font-family: Arial, sans-serif;">Internet paradox: A social technology that reduces social involvement and psychological well-being?</span></a></span><span style="color: black;"><span style="font-family: Arial, sans-serif;"> <em><span style="font-family: Arial, sans-serif;">American Psychology</span></em>. </span></span><br />
<div style="margin: 0in 0in 0pt;"><span style="font-family: Arial, sans-serif;"></span></div><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">Kreis, S. (2000). The History Guide. </span><span style="font-family: Georgia, serif;"><a href="http://www.historyguide.org/intellect/press.html"><span style="font-family: Arial, sans-serif;">The Printing Press</span></a></span><span style="font-family: Arial, sans-serif;">.</span><span style="font-family: Georgia, serif;"> </span></span></div><br />
<div style="margin: 0in 0in 0pt;"><span style="font-family: Georgia, serif;"><o:p></o:p></span><span style="color: black;"><span style="font-family: Arial, sans-serif;">The Marquee Blog. (2011). What’s the Internet? Retrieved from: </span><span style="font-family: arial;"><a href="http://marquee.blogs.cnn.com/2011/01/31/today-flashback-katie-couric-whats-an-internet">http://marquee.blogs.cnn.com/2011/01/31/today-flashback-katie-couric-whats-an-internet</a> </span></span></div><span style="font-family: Arial, sans-serif;"><br />
<div align="left"><span style="color: black;">The Pew Internet and America Life Project Tracking surveys (2009). Retrieved from: </span><a href="http://www.pewinternet.org/Static-Pages/Trend-Data/Internet-Adoption.aspx"><span style="color: black;">http://www.pewinternet.org/Static-Pages/Trend-Data/Internet-Adoption.aspx</span></a><span style="color: black;"> </span><a href="http://www.pewinternet.org/Trend-Data/Online-Activities-20002009.aspx"><span style="color: black;">http://www.pewinternet.org/Trend-Data/Online-Activities-20002009.aspx</span></a></div><span style="font-family: arial;">Skirky,C. (2008). Here Comes Everybody. Penguin Books. page 77.</span> <span style="font-family: Arial, sans-serif;"><span style="color: black;">USC's Annenberg School for Communication & Journalism (2010). </span><a href="http://www.digitalcenter.org/pdf/2010_digital_future_final_release.pdf"><span style="color: black;">USC Annenberg Digital Future Study</span></a><span style="color: black;">. Last accessed on April 5, 2011.</span></span><span style="font-family: Georgia, serif;"><span style="color: black;"> <o:p></o:p></span></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Georgia, serif;"><span style="color: black;">Youtube (1994). What is the Internet? Retrieved from: </span><a href="http://www.youtube.com/watch?v=JUs7iG1mNjI"><span style="color: black;">http://www.youtube.com/watch?v=JUs7iG1mNjI</span></a></span><span style="color: black;"> </span></div><span style="font-family: Georgia, serif;"><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="color: black;">Youtube (2006). Evolution of Digital Communities. Retrieved from: </span><a href="http://www.youtube.com/watch?v=F7O4uMRADB8"><span style="color: black;">http://www.youtube.com/watch?v=F7O4uMRADB8</span></a><o:p></o:p></div><br />
<div style="margin: 0in 0in 0pt;"><span style="color: black;"><span style="font-family: Arial, sans-serif;">Wikipedia. </span><span style="font-family: Georgia, serif;"><a href="http://en.wikipedia.org/wiki/Publishing"><span style="font-family: Arial, sans-serif;">Publishing</span></a></span><span style="font-family: Arial, sans-serif;">. Last accessed on March 30, 2011. </span><span style="font-family: Arial, sans-serif;"><o:p></o:p></span></span></div></span></span><span style="color: black;"></span></span></span></span></span></span>Denise Khttp://www.blogger.com/profile/12349189293068582444noreply@blogger.com23tag:blogger.com,1999:blog-3824706373403168773.post-85073006690324395552011-04-02T01:02:00.000-06:002011-04-02T01:02:45.074-06:00Anahada Sabda:India: Culture and Communication<div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;">Anahada Sabda: Unuttered utternace</b></div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;">India: Culture and Communication</b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The question:</i></b></div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">"Civilization has been dominated at different stages by various media of communication</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">such as clay, papyrus, parchment, and paper produced first from rags and then from wood.</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">Each medium has its significance for the type of monopoly of knowledge which will be built</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">and which will destroy the conditions suited to creative thought and be displaced by a new</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">medium with its peculiar type of monopoly of knowledge." Innis, Harold</div><span style="font-family: BigCaslon-Medium;"><div style="text-align: center;"><strong>Do you agree with this statement?</strong></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><strong>Watch YouTube link for answer. </strong></div><div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/au0p0ZBb4DI?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><br />
</div></span><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">Exploration:</b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">From the unuttered voice to the utterance on machines, from “aum” to “gr8” (texting) there was a journey of thousands of years. </div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication.”</i></b></div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Marshall McLuhan</i></b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">The video is an attempt to decipher the cultural heritage of India from a communication perspective - <b style="mso-bidi-font-weight: normal;">Medium and Message</b>.</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">1. Medium: Clay & Metal:</b> Indus Valley Civilization: The civilizations of Indian subcontinent are little known to the west. The great Indus valley civilization of Mohenjo Daro – Harappan point to a highly developed society that settled in the fertile Indus valley about 2500 years ago. The medium of clay and later metal enhanced their lifestyle.<span style="mso-spacerun: yes;"> </span>These media defined their lifestyle.</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;">2. Medium: <span style="mso-spacerun: yes;"> </span>Panayola/ Tali: Palm leaves Inscriptions:</b> The palm leaves inscriptions found in southern India are great example of a local medium used by the people to preserve their knowledge.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">The palm leaves inscriptions were used as a medium for knowledge transference. These fragile leaves often stood the test of time. Literary Epics where written and kept in this fragile medium.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;">3. Medium: Skin/ Leather: </b>Very rarely used in India; probably because of the influence of </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">the non-violent ways of Hinduism and Buddhism. </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;">4. Medium: Stone inscriptions</b>: Inscriptions on stone, the rules of the state; the process of election; the guidelines for growth – all were inscribed on stone and placed in public places. These inscriptions defined their society. </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">5. Medium: Sculpture</b> – the temple art of India is very popular for sculptures. The sculptures told the stories of kings, stories of deities, stories of love, and stories of achievements. Ajanta –Ellora caves, Tanjore temple, Mahabalipuram, Konark ... some specimens of sculptural finesse. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">6. Medium: Art & Murals</b> – Exotic murals of Ajanta caves, can be seen an artistic expression of the society. Murals are very much alive in the temple culture of Kerala. This medium though transformed still not extinct. Mural conveyed the stories of the ancient times. </div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“Past technologies have always involved a change in our phenomenological experience of the world.” Bernard Stiegler</i></b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">7. Medium: Paper</b> – Probably the first foreign medium to change Indian Society. Introduced by Chinese traders to India, it influenced the history of India. Vedas, Hindu scriptures were transferred to this new medium. Murals and other art forms found a friend in this medium. Medium of paper transformed society, religion, art and life.</div><div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“... it was in China that paper was first manufactured, Chinese prisoners introduced the fabrication of paper in Samarkand, and thereupon it was made in various places, so as to meet the existing want" <span style="mso-spacerun: yes;"> </span>- Al-Biruni</i></b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">8. Medium:</b> <b style="mso-bidi-font-weight: normal;">Telephone</b> –Leapfrog of a nation. People who have never seen a Telegraph, or used a Telephone, now handle mobile phones. Accessible medium enhanced the lives of common people. Technology and life provided an instant connection. <span style="mso-spacerun: yes;"> </span>Connectivity gaining new meaning with mobile phones. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“The medium, or process, of our time – electronic technology- is reshaping and restructuring patterns of social interdependence ...” Marshall McLuhan</i></b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">9. Modern Media: Technology:</b> New world: Virtual World. Technological innovations created new forms society. New monuments are influenced by these media. Changing face of Society influenced by new medium - Technology</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;">10 Medium: Virtual World: <span style="mso-spacerun: yes;"> </span></b>The society is caught up in the virtual world, often hijacked.<b style="mso-bidi-font-weight: normal;"> </b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Society has evolved with medium. Not all media necessarily replaced the old. Each one built upon the other, leaving behind traces of their glorious past. But the virtual world might be different.... Anahada Sabda – unuttered voice, is it Virtual? </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-3824706373403168773.post-12704545488761735972011-04-01T14:11:00.023-06:002011-04-01T15:41:09.927-06:00Hockey Fans and Remix Culture<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWIIDugrc9R7TEnVG89siszzDJ2_XmJovf5Yr-5tQmQO3qLNWJpOeSW2pd8pMtXODwawzHmYZiNzg0dhkV2DVfg1grDutaAecHid-v5H4pQk2pvn18mt7oLFaoPMOgLUEr6EG3DtofZc/s1600/lessig.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 215px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5590711393188594370" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWIIDugrc9R7TEnVG89siszzDJ2_XmJovf5Yr-5tQmQO3qLNWJpOeSW2pd8pMtXODwawzHmYZiNzg0dhkV2DVfg1grDutaAecHid-v5H4pQk2pvn18mt7oLFaoPMOgLUEr6EG3DtofZc/s320/lessig.jpg" /></a> A remix culture, according to Lawrence Lessig, is one where "people participate in the creation and the re-creation of their culture" (Lessig, 2007). It is one where people can use an existing artifact to create something new and unique. Lessig breaks down culture into two categories: read/write culture and read/only culture. This latter culture is one where "creativity [is] consumed but the consumer is not a creator" (Lessig, 2007). A read/write culture is described as being a symbol of individual freedom and personal expression (Lessig, 2005) while a read/only culture "is top-down...where the vocal chords of the millions have been lost" (Lessig, 2007). With the increase in digitization of original work such as art, music and ideas, the remix culture impacts both the creators as well as the consumers. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSs1X0sZm0-O9f0lvByIGdSRi7O1zrcfJu2EmUvcxTzsRjSiRNQDHEBom06YTXopQ_fHq0ic9-oo-X7sRJV6U5JhoKvbU1_2aKSa7-P7sLaivQJAP2s6XlPzgqGNrXOoRCtF2EkP2dOk/s1600/banksyparking.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 202px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5590711955288584658" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSs1X0sZm0-O9f0lvByIGdSRi7O1zrcfJu2EmUvcxTzsRjSiRNQDHEBom06YTXopQ_fHq0ic9-oo-X7sRJV6U5JhoKvbU1_2aKSa7-P7sLaivQJAP2s6XlPzgqGNrXOoRCtF2EkP2dOk/s320/banksyparking.jpg" /></a>Examples of remixed work include music sampling, anime fan art and serviceware mashups (Lankshera & Knobel, 2007). People are able to "mashup" (Fitzgerald & O'Brien, 2006) original content with their own alterations and share it as their own. For instance, street artist Banksy uses structures and buildings from around the world as his canvass to express his thoughts and messages (“Banksy - Outdoors”, n.d.). This could be considered vandalism but the art work has gained acceptance and has even led to a film entry at the Sundance Film Festival (Horn & Lee, 2010). <br /><br />With the cost of computers reducing and image editing software becoming easier to use, photoshopping has become a popular remixing tool for political statements and individual expression. The act of splicing images from different sources together to create a new message and content on the web reflects the remix culture Lessig (2007) refers to. Because of the freedom remix culture demands, it is fundamentally at odds with older media institutions and practices. As demonstrated by photoshopping, the read/write culture does not conform to established and traditional methods of copyright laws, intellectual property rights and publication methods. <br /><br /><strong>CASE STUDY: OILERSNATION PHOTOSHOP CONTEST</strong> <br /><br /><a href="http://oilersnation.com">OilersNation</a>, a fan website, recently hosted a <a href="http://oilersnation.com/2011/3/11/photoshop-contest-entries">photoshop contest</a> that invited readers to submit their edited images inspired by the <a href="http://oilers.nhl.com/">Edmonton Oilers</a>. Original narratives and themes from movies, television shows and advertising are used with Oiler-related images to create new content. Fans expressed their feelings and thoughts regarding the Oilers season, team managements decisions as well as optimism and support for the clubs future. Based on the comments visitors left on the site, one entry was selected to win a prize. <br /><br />Photoshopping requires some knowledge and experience with the image editing software as well as the intended audience. Editors had to seamlessly mesh hockey images with familiar, pop culture, items so that an explanation was not required. Contest entrants were sharing their works with a hockey fan community, a niche audience, that had to understand their message easily. <br /><br />The desire of fans to create new content using copyrighted material such as player images and movie posters is a result of the remix culture that exists today. But as this case study demonstrates, there is a tension between the remix culture that encourages the expression of fans and the read/only practices of traditional media institutions.<br /><br /><object width="446" height="326"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf"></param><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always"/><param name="wmode" value="transparent"></param><param name="bgColor" value="#ffffff"></param> <param name="flashvars" value="vu=http://video.ted.com/talks/dynamic/LarryLessig_2007-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/LarryLessig-2007.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=187&lang=&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=larry_lessig_says_the_law_is_strangling_creativity;year=2007;theme=presentation_innovation;theme=not_business_as_usual;theme=tales_of_invention;event=TED2007;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;" /><embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgColor="#ffffff" width="446" height="326" allowFullScreen="true" allowScriptAccess="always" flashvars="vu=http://video.ted.com/talks/dynamic/LarryLessig_2007-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/LarryLessig-2007.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=187&lang=&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=larry_lessig_says_the_law_is_strangling_creativity;year=2007;theme=presentation_innovation;theme=not_business_as_usual;theme=tales_of_invention;event=TED2007;"></embed></object><br /><br /><br /><br /><strong>COPYRIGHT ISSUES</strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlxMW_uKBav2Ca7cUdh3K2leZAkb5qbeMThvkOsPAsv842f78pKUClZVJNIQUEYTEMJ0kAbPdDH6yliYOtOqGFSnQRjGM6UouQFFlQdt2TFRGHkFRjk4jak_8nt5jarAZdCrbVaxw_lA/s1600/ON_photoshop_newhope2.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 243px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlxMW_uKBav2Ca7cUdh3K2leZAkb5qbeMThvkOsPAsv842f78pKUClZVJNIQUEYTEMJ0kAbPdDH6yliYOtOqGFSnQRjGM6UouQFFlQdt2TFRGHkFRjk4jak_8nt5jarAZdCrbVaxw_lA/s320/ON_photoshop_newhope2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5590719748186191058" /></a><br />Since the images used by fans in the photoshop contest are not owned by them, fans are technically using the images illegally. The photos of the players are owned by the team, private owners or broadcast mediums such as television networks or websites. But since they are available on the Internet, a medium that supports a remix culture, fans are able to copy, save, edit and share the images. <br /><br />Original images from movies and television shows are valuable to its owners since they took time, resources and capital to create. Yet, franchises such as Star Wars or Bob the Builder do not appear to have received any reimbursement for the images that were used. But in order for fans to express themselves, they need access to these copyrighted images. <br /><br />The read/only culture that original material owners demand is protected by copyright laws. As Lessig (2007) states, “By default, read/write use violates copyright law. Read/write culture is thus presumptively illegal”. Lessig urges that government legislation must find a balance that allows for creativity but also compensate artists (Lessig & Schlesinger, 2008). In 2001, <a href="http://creativecommons.org/about">Creative Commons</a> (Zittrain, 2009) was established to give creators the ability to copyright their material but also allow for certain uses of their work. Their goal is to allow ones “creative, educational, and scientific content [to be] instantly more compatible with the full potential of the internet” (“About - Creative Commons”, n.d.). It remains to be seen if this organization can bridge the ideological differences, regarding copyright issues, between read/write and read/only culture.<br /><br /><strong>MESSAGE CONTROL</strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzN5TaLF6ekQTNasAUIRcnXkK7cqZ_12mNZe86MAcaPOZ3LHL_N_MYyo-aliitm8AV_ybx1zYP9YcveVERDY7e8ZLA70vr5wBqtN6LkDT1LUiHTXn1x5MY_rp0p4NS97NnDRQO2cKktk/s1600/ON_photoshop_piechart.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 281px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzN5TaLF6ekQTNasAUIRcnXkK7cqZ_12mNZe86MAcaPOZ3LHL_N_MYyo-aliitm8AV_ybx1zYP9YcveVERDY7e8ZLA70vr5wBqtN6LkDT1LUiHTXn1x5MY_rp0p4NS97NnDRQO2cKktk/s320/ON_photoshop_piechart.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5590720200895253074" /></a> When an individual or organization creates content, it is for their own purposes and objectives. For instance, when a movie is set for release to theatres, images from the film are used for movie posters and advertising. Theses images and their intended messages are controlled by the original artists. Investments are made into the original material in the hopes that it will generate revenue for them. Since remix culture allows anyone to use original content to create something new, tension arises between it and the traditional method of content creation and control.<br /><br />The fans who photoshopped images are using content that was meant for a different purpose. Images of hockey players were not intended to be mashed with a Star Wars poster or to be mocked. Professional sports, being a business, must carefully invest in the creation of original work to generate revenue. Teams are accountable to investors, a board of governors and corporate sponsors. The messages they create must adhere to the goals of their organization, with external stakeholders in mind. When a fan remixes the original content to create a message that does not represent the organization, legal action may be sought for misrepresentation.<br /><br />Instead of simply consuming the message an organization such as the Edmonton Oilers create, fans are utilizing social media, or web 2.0. applications (O’Reilly, 2005), to create and share their own messages. The barriers to participate and get things done, according to Shirky (2008), have dropped, allowing fans to participate in the creation and control of content. Social media applications such as blogs, Facebook and Twitter provide a voice to fans, making them a source of information; information that traditionally is under the control of the original creators.<br /><br /><strong>AUDIENCE VS COMMUNITY</strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGR0KVqWYXjNGhzbgopuoTExK0-7y-i-25HnubUBy0kHHgKxdkR8KBpoO6KHqdUEmp0QXeUFcKMbh4evEGxsWBRkTgcjh7wtZerBJzDsGJ4PHyS6y3NGTSHYg_On8y3f-uHoghUkeUQq4/s1600/ON_photoshop_rebuilding.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 176px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGR0KVqWYXjNGhzbgopuoTExK0-7y-i-25HnubUBy0kHHgKxdkR8KBpoO6KHqdUEmp0QXeUFcKMbh4evEGxsWBRkTgcjh7wtZerBJzDsGJ4PHyS6y3NGTSHYg_On8y3f-uHoghUkeUQq4/s320/ON_photoshop_rebuilding.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5590720986530309266" /></a><br />The <a href="http://oilersnation.com/2011/3/11/photoshop-contest-entries">OilersNation photoshop contest</a> demonstrates the evolution of the traditional audience into more of an active community. Instead of being a part of the targeted audience, fans have connected with one another to form a community, which is vital in a remix culture. Without a community to work with and to create content for, there is little motivation for fans to express their thoughts and creativity. <br /><br />According to Mason (1999), it is the uncertainty of games and player performance that professional sports sells to its audience. Fans in turn buy tickets to events and purchase merchandise. Fans have also demonstrated their desire to not only consume, but to actually do something with the product sold to them by professional sports. Examples include fantasy league pools, where fans select players at the start of the season and collect points to compete with other fans. Phone applications such as <a href="http://www.preplaysports.com/the-app">Pre Play Sports</a> (“Pre-Play Sports”, n.d.) allow fans to predict events during a live football game and compete with others. Fans have also demonstrated their creative and collaborative abilities by taking the statistics generated by the league and developing their own methods of tracking team and player performance (Staples, 2008). These fans are conducting, what Bruns (2008) describes as, “produsage”, which is the “collaborative and continuous building and extending of existing content in pursuit of further improvement” (p. 15).<br /><br />The ideologies and characteristics of this participatory culture (Jenkins, 2008) are in stark contrast to those envisioned by creators of original work. The hockey fan community and its remix culture have a different approach to creating content than the read/only audience the Edmonton Oilers may view them as. This leads to tension since the professional sports teams and leagues cannot control how their property is used within this community. It is difficult for them to determine who is using their material and for what purposes. However, In response to the evolution of audiences becoming communities, the Oilers have begun interacting with fans using different social media applications such as <a href="http://www.facebook.com/Oilers.NHL">Facebook</a> and <a href="http://twitter.com/#!/NHL_Oilers">Twitter</a>. The team can be a part of the fan network, rather than remain as outsiders.<br /><br /><strong>SUMMARY</strong><br /><br />As demonstrated by the OilersNation photoshop contest, a remix culture is fundamentally at odds with traditional media institutions and practices. Copyright issues, message control and the evolution of audiences to active communities demonstrates the ideological differences between remixers and original creators of work. In the future, the way content and its message is controlled over new mediums requires the involvement of the read/write and read/only culture. A balance must be found to protect the work of original creators, but also provide people the freedom and opportunity to become engaged with their culture.<br /><br /><br /><strong>SOURCES </strong><br /><br />About - Creative Commons (n.d.). Retrieved from <a href="http://creativecommons.org/about">http://creativecommons.org/about</a>. (2011, March 31). <br /><br />Banksy Outdoors (n.d.) Retrieved from <a href="http://www.banksy.co.uk/outdoors/outvarious/horizontal_1.htm">http://www.banksy.co.uk/outdoors/outvarious/horizontal_1.htm</a>. (2011, March 31).<br /><br />Bruns, A. (2009). <em>Blogs, Wikipedia, Second Life and Beyond</em>. New York: Peter Lang Publishing.<br /><br />Brustein, J. (2011, March 11). A Better Way to Watch Sports. <em>The New York Times</em>. Retrieved from <a href="http://www.nytimes.com/2011/03/13/weekinreview/13watch.html">http://www.nytimes.com/2011/03/13/weekinreview/13watch.html</a>. (2011, March 25). <br /><br />Gretz, W. (2011, March 11). Photoshop contest entries: updated. Retrieved from <a href="http://oilersnation.com/2011/3/11/photoshop-contest-entries">http://oilersnation.com/2011/3/11/photoshop-contest-entries</a>. (2011, March 12).<br /><br />Horn, J. & Lee, C. (2010, January 24). Sundance 2010: Banksy rocks festival with 'Gift Shop'. <em>LA Times</em>. Retrieved from <a href="http://latimesblogs.latimes.com/movies/2010/01/sundance-2010-banksy.html">http://latimesblogs.latimes.com/movies/2010/01/sundance-2010-banksy.html</a>. (2011, March 31).<br /><br />Jenkins, H. (2006). <em>Fans, Bloggers and Gamers: Exploring Participatory Culture</em>. New York: New York University Press.<br /><br />Jenkins, H. (2006). <em>Convergence Culture: Where Old and New Media Collide</em>. New York: New York University Press.<br /><br />Lankshear, C. & Knobel, M. (2007, May). Digital Remix: The Art and Craft of Endless Hybridization. Keynote presented to the International Reading Association Pre-Conference Institute "Using Technology to Develop and Extend the Boundaries of<br />Literacy". Retrieved from <a href="http://extendboundariesofliteracy.pbworks.com/f/remix.pdf">http://extendboundariesofliteracy.pbworks.com/f/remix.pdf</a>. (2011, March 28). <br /><br />Lessig, L. (2005). The people own ideas!. <em>Technology Review, 108 </em>(6). Pp. 46-53.<br /><br />Lessig, L. (2007, November). Larry Lessig: On laws that choke creativity [Video file]. Retrieved from <a href="http://www.ted.com/talks/larry_lessig_says_the_law_is_strangling_creativity.html">http://www.ted.com/talks/larry_lessig_says_the_law_is_strangling_creativity.html</a>. (2011, March 30). <br /><br />Lessig, L. & Schlesinger, R. & (2008). Don't Make Kids Online Crooks. <em>U.S. News & World Report, 145</em> (14).<br /><br />Mason, D.S. (1999). What is the sports product and who buys it? The marketing of professional sports leagues. <em>European Journal of Marketing, 33</em> (3/4). Pp. 402-418.<br /><br />Fitzgerald, B & O'Brien, D. (2006). Mashups, remixes and copyright law. <em>Internet Law Bulletin 9</em>(2):pp. 17-19. Retrieved from <a href="http://eprints.qut.edu.au/4239/1/4239.pdf">http://eprints.qut.edu.au/4239/1/4239.pdf</a>. (2011, March 30).<br /><br />O'Reilly, Tim. (2005). “What is Web 2.0?”. Retrieved from: <a href="http://oreilly.com/web2/archive/what-is-web-20.html">http://oreilly.com/web2/archive/what-is-web-20.html</a>. (2011, March 30).<br /><br />Pre-Play Sports (n.d.). Retrieved from <a href="http://www.preplaysports.com/the-app">http://www.preplaysports.com/the-app</a>. (2011, March 31).<br /><br />Rheingold, H. (2002). <em>Smart Mobs: The Next Social Revolution</em>. Cambridge, Massachusetts: Perseus Books.<br /><br />Shirky, C. (2008). <em>Here Comes Everybody</em>. New York: Penguin Press.<br /><br />Staples, D. (2008, October 14). Frequently Asked Questions About True Plus/Minus [Web log]. Retrieved from <a href="http://communities.canada.com/edmontonjournal/blogs/hockey/archive/2008/10/14/frequently-asked-questions-about-the-errors-stat.aspx">http://communities.canada.com/edmontonjournal/blogs/hockey/archive/2008/10/14/frequently-asked-questions-about-the-errors-stat.aspx</a>. (2011, March 31).<br /><br />Zittrain, J. (2009). How to end the copyright wars. <em>Nature, 457</em> (7227). Pp. 264-265. <br /><br /><strong>IMAGES</strong><br /><br />Lessig photo: <a href="http://commons.wikimedia.org/wiki/File:Lawrence_Lessig_freesouls.jpg">Wikimedia Commons</a><br /><br />Street Art: <a href="http://www.banksy.co.uk/outdoors/outvarious/horizontal_1.htm">Banksy</a><br /><br />OilersNation photoshop entries: <a href="http://oilersnation.com/2011/3/11/photoshop-contest-entries">OilersNation</a>sunilhttp://www.blogger.com/profile/09069023047406354107noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-57804475283198471672011-03-28T10:55:00.002-06:002011-04-03T20:28:09.980-06:00Week 11: Guest Lecture<span class="Apple-style-span" style="color: blue; font-family: Arial, Helvetica, sans-serif;">Here is the guest lecture from Bobbi Newman</span>:<br />
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<div class="MsoNormal"><b><span style="color: black;">If transliteracy is the future of literacy, what happens to publishing and how does the role of libraries change?</span></b><span style="color: black;"><br />
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Hello everyone! I’m writing from an apartment filled with moving boxes, I’ve just relocated from Georgia for a position at a public library system in Columbia South Carolina. I’ll be responsible for staff learning and development, I will be helping library staff assist patrons in a transliterate world. <br />
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We are in the midst of exciting and challenging time for both libraries and publishers. Advances in technology have allowed society to re-examine (and perhaps redefine) what exactly is a book. Ebooks or electronic books have been around for years, but it’s only recently with the increase in popularity of devices like the the Kindle and the Nook that use among the general population has taken off. It is worth noting that despite the attention and time given to the issue of ebooks that they still account for a small portion of sales. 1<br />
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The ebook landscape is still evolving so while we generally have an idea of ebooks that we agree upon, there are file format differences between vendors, not to mention DRM (Digital Rights Management). DRM is technology used by publishers, and others, to control and limit access to digital content. Both the lack of an industry standard for a file format and the demands of DRM create a burden for libraries. DRM places additional limitations and requirements for the download process that makes accessing and using library ebooks a less than elegant process. <br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></div><div class="MsoNormal"><br />
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<span style="color: #000099;">Note: Image from: <a href="http://bradcolbow.com/archive/view/the_brads_why_drm_doesnt_work/?p=205">http://bradcolbow.com/archive/view/the_brads_why_drm_doesnt_work/?p=205</a></span><br />
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With the announcement of the iPad in April of 2010 a new twist was introduced to electronic books. The interactive ability of the iPad allowed a whole new dimension to books the embedding or linking to additional content. As Rinzler notes these interactive books are actually apps that must be purchased from the app store not the iBooks store. Which might beg the question: are they books? Or what <i>IS</i> a book?<o:p></o:p></span></div><div class="MsoNormal"><br />
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<div class="MsoNormal">YouTube video review of Cat in the Hat App<span style="color: black;"><br />
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Because the ebook landscape is still evolving the lending/leasing/buying model between publishers and libraries is still evolving too. Recent<a href="http://librarianbyday.net/2011/02/25/publishing-industry-forces-overdrive-and-other-library-ebook-vendors-to-take-a-giant-step-back/"><span style="color: #000099;"> HarperCollins decided that ebooks leased by libraries will only be good for 26 check-outs</span></a>, after that they expire and libraries will be forced to pay for the title again. This creates additional budgetary problems for libraries as well as concerns on how to manage the title affected.<br />
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As the world is changing around us so is the role of libraries. It is now necessary for library staff to understand the different file formats and able to explain these to our patrons. The general public does not understand the difference between an epub vs pdf ebook file and the need to explain the differences in file format often comes in to play while assisting with ebooks. Staff may need to explain why the popular Amazon Kindle does not work with library ebooks, and they need to do so in a way that is free from jargon and techno-speak. Staff need to be able to pick up on an reader they may have never seen before and assist a patron with its usage. This can be especially hard because of the variety of ebook devices or ereaders on the market. Many libraries can not afford to purchase all of these devices for staff learning. <br />
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The emerging ebook eco-system is just one reason that library staff need to be transliterate. The needs of patrons in the 21st Century require a commitment to life long learning and exploration. <br />
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How do you define a book? How do you see the evolution of books in the next 2-5 years? How do you think the coming changes in the capability of books will affect new generations? How will it change the education system? <br />
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1. According to Association of American Publishers data, in 2008 ebook sales accounted for approximately 0.5% of all U.S. book sales; a year later, they accounted for 1.3%. <i>Survey of Ebook Penetration and Use in U.S. Public Libraries</i>, Library Journal 2010<br />
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Additional reading, watching:<o:p></o:p></span></div><h2><span style="color: black; font-size: 12pt;"><a href="http://librarianbyday.net/2009/10/07/libraries-and-transliteracy-the-video-version/"><span style="color: #000099; font-weight: normal;">Libraries and Transliteracy – the video version</span></a><o:p></o:p></span></h2><h2><span style="color: black; font-size: 12pt;"><a href="http://librarianbyday.net/2010/06/24/the-digital-divide-does-not-discriminate/"><span style="color: #000099; font-weight: normal;">The Digital Divide Does Not Discriminate</span></a><o:p></o:p></span></h2><div class="MsoNormal"><span style="color: black;"><a href="http://librarianbyday.net/2009/11/23/transliterat-divide-working-definition/"><span style="color: #000099;">Transliterate Divide – Working Definition</span></a><o:p></o:p></span></div><div class="MsoNormal"><br />
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</div>Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-3824706373403168773.post-72683701348973003172011-03-27T23:33:00.000-06:002011-03-27T23:33:38.068-06:00Week 11: Transliteracy and PublishingIf transliteracy is the future of literacy, what happens to publishing and how<br />
does the role of libraries change?<br />
Some key ideas:<br />
•future of libraries<br />
•democratization of<br />
publishing<br />
<br />
<br />
Ian Clark writes on the need for libraries in the digital age at <a href="http://www.guardian.co.uk/commentisfree/2010/jul/13/internet-age-still-need-libraries">guardian.co.uk</a> Libraries are a bridge between the information-rich and the information-poor. They need reinforcing, not dismantling. We need to continue to provide a highly skilled service that is able to meet the needs of the general public. The service ought to continue to innovate to take advantage of the way in which people are interacting with the service in a different way. It needs to continue to bridge the gap between those who have access to the internet and those who do not, while also ensuring it delivers on other aspects of its core service (book loans, local studies materials, etc). If the service is cut, we run the risk of an ill-informed society that is ill-equipped to prosper in the “information age” – a dangerous prospect for any democracy.<br />
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Note: Guest Lecture from Bobbi Newman this week!<br />
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From the <a href="http://librariesandtransliteracy.wordpress.com/">Libraries and Transliteracy</a> blog (by Lane Wilkinson)<br />
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<blockquote><span class="Apple-style-span" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px; line-height: 20px;">incorporating social media into the library instruction curriculum can add a familiar, effective, and transferable skill-set for addressing the critical ACRL Information Literacy Standards. As Bobish concludes his article, social media and related technologies</span>present a golden opportunity, not generally available previously, for students to see the real world relevance of the skills that they learn through information literacy instruction and to learn how information is created and shared by doing it themselves rather than hearing about it. (p. 63)</blockquote><br />
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Discussion Questions:<br />
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Q1. Elizabeth Daley encourages us to expand the concept of literacy. We’ve talked about transliteracy.<br />
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What role do you think transliteracy plays (will play) in the development of publishing (and reading and<br />
<br />
writing)?<br />
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Q2. If publishing, traditionally, evoked ideas of editors, gatekeepers, experts and credibility and current online publishing is synonymous (usually) with interconnected conversation, legitimacy of interaction and communication - how do we as writers and readers legitimise both credibility and interconnected conversation?<br />
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Q3. According to Lawrence Lessig (founder of Creative Commons): “I think it is a great thing when amateurs create, even if the thing they create is not as great as what the professional creates. I want my kids to write. But that doesn’t mean that I’ll stop reading Hemingway and read only what they write. What Keen misses is the value to a culture that comes from developing the capacity to create—independent of the quality created. That doesn’t mean we should not criticise works created badly (such as, for example, Keen’s book…). But it does mean you’re missing the point if you simply compare the average blog to the NY times.” What does Lessig’s quote imply about (critical) literacies and literary practises concerned with publishing?<br />
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Q3. This week we’ve talked about the role of libraries in the new landscape of publishing. Some people see libraries as passe, “If you plopped a library down 30 years from now there would be cobwebs growing everywhere because people would look at it and wouldn’t think of it as a legitimate institution because it would be so far behind...” What transliterate practises might libraries employ in order to place libraries at the centre of an informational social web?<div><br />
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</div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-3824706373403168773.post-91660741449955392712011-03-25T16:55:00.000-06:002011-03-25T16:55:04.251-06:00Media Convergance<!--copy and paste--><object width="346" height="226"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf"></param><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always"/><param name="wmode" value="transparent"></param><param name="bgColor" value="#ffffff"></param><param name="flashvars" value="vu=http://video.ted.com/talks/dynamic/SalmanKhan_2011-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/SalmanKhan-2011.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=1090&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=salman_khan_let_s_use_video_to_reinvent_education;year=2011;theme=a_taste_of_ted2011;theme=new_on_ted_com;event=TED2011;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;" /><embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgColor="#ffffff" width="446" height="326" allowFullScreen="true" allowScriptAccess="always" flashvars="vu=http://video.ted.com/talks/dynamic/SalmanKhan_2011-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/SalmanKhan-2011.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=1090&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=salman_khan_let_s_use_video_to_reinvent_education;year=2011;theme=a_taste_of_ted2011;theme=new_on_ted_com;event=TED2011;"></embed></object><br />
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This video applies to a number of past themes and authors that we have explored. It certainly builds on Ken Robinson's talk of creativity being as important as the sciences in education and on Rheingold's lectures on the need to teach to the new generation of digital immigrants in their 'space.' I think his methods of interactive teaching using new media could be considered storytelling, but telling an old story in new ways.Carolyn Trumperhttp://www.blogger.com/profile/00511646777050474271noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-78614080394791439602011-03-25T11:35:00.000-06:002011-03-25T11:35:04.867-06:00Media ConvergenceI found this informative video on media convergence and modern trends. Not quite on stoy telling but tells a story on modern media convergence.<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-37218029964047579492011-03-24T23:07:00.001-06:002011-03-24T23:21:46.929-06:00Transmedia Storytelling - Teenage Mutant Ninja Turtles<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1YXE4HJN5zrvGdToLgyxfE7RkYs3IVMZbBoKUeihZxAMbUsSSRZ9gQV6NlWuEoam_4od5_PfMiXh5VwehKMgLgQC3rtk2FITf4PWZEwXhTSMTfUrHoI6pWCxFg6YMTFTVVMhGG5xw0U/s1600/teenage-mutant-ninja-turtles-smash-up-20090317000732371.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 196px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1YXE4HJN5zrvGdToLgyxfE7RkYs3IVMZbBoKUeihZxAMbUsSSRZ9gQV6NlWuEoam_4od5_PfMiXh5VwehKMgLgQC3rtk2FITf4PWZEwXhTSMTfUrHoI6pWCxFg6YMTFTVVMhGG5xw0U/s200/teenage-mutant-ninja-turtles-smash-up-20090317000732371.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5587882988487895506" /></a><br />TMNT used various platforms to continue on and develop its storylines. Aside from the Saturday morning cartoons, there were comic books, feature films and board games. They also utilized video games to engage fans in a medium that not only continued the storyline, but also allowed fans to take control.<br /><br />The television shows worked well for the storyline since it combined visual and audio effects to draw viewers. It gave fans a sense of what the characters are like and how they react when in conflict with villians. This also established the vision of the animators and creators of TMNT.<br /><br />Video games gave fans the power to control the heroes within established storylines. Video games works well as a platform since fans have a clear goal in mind, which is to complete the story and finish the game. How they do this is up to player as they decide which character they get to be and control how exactly they finish off the villains. Fans become more familiar with the characters as well as the TMNT narrative.<br /><br /><iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/dDyOoH6Mq3s" frameborder="0" allowfullscreen></iframe><br /><br />Photo: <a href="http://www.ign.com/blogs">http://www.ign.com/blogs</a>sunilhttp://www.blogger.com/profile/09069023047406354107noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-56064054644013142492011-03-24T22:55:00.006-06:002011-03-24T23:22:15.629-06:00Transmedia Storytelling - World Wrestling Entertainment<em>I usually reply to the weekly topic blog post, but will post my response as its own post since Blogger does not allow for the embedding of photos, video, etc.</em><br /><br />Example 1: World Wrestling Entertainment (WWE)<br /><br />The <a href="http://www.wwe.com/">WWE</a> has utilized transmedia storytelling in the past to develop its characters and plots. It has been years since I watched wrestling but do remember the methods that were used in the eighties. Television was used for wrestling matches and to promote the good guy versus the bad guy drama. A Saturday morning cartoon was developed starring the wrestlers with stories that contributed to the franchises storylines. The opening itself for Hulk Hogan's Rock 'n' Wrestling was a blend of real-life and cartoon.<br /><br /><iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/jPSra3AccE0" frameborder="0" allowfullscreen></iframe><br /><br /><br />Today, the WWE uses weekly television shows along with Twitter to develop their storylines and characters. The television program is live and provides fans with two hours of time for several storylines to develop. Programming includes matches, highlights from previous weeks and promotions for upcoming pay-per-views and merchandise. The television is a valuable medium since wrestling and acting is a visual and audio display. Hearing two men grunt out a match on the radio just would not work out as effectively. Television content is also available online after the show has aired.<br /><br />Twitter is a platform that allows for the continuation of the storyline before and after the television programming. Fans receive real-time updates regarding content but also stay in touch with the wrestlers who send messages to build up their matches and appearances. It suits the build up of the storylines since it fills the silence that exists between live programming. The storylines don’t always require a visual aid and can be communicated by text.<br /><br /><script src="http://widgets.twimg.com/j/2/widget.js"></script><br /><script><br />new TWTR.Widget({<br /> version: 2,<br /> type: 'profile',<br /> rpp: 4,<br /> interval: 6000,<br /> width: 250,<br /> height: 300,<br /> theme: {<br /> shell: {<br /> background: '#333333',<br /> color: '#ffffff'<br /> },<br /> tweets: {<br /> background: '#000000',<br /> color: '#ffffff',<br /> links: '#4aed05'<br /> }<br /> },<br /> features: {<br /> scrollbar: false,<br /> loop: false,<br /> live: false,<br /> hashtags: true,<br /> timestamp: true,<br /> avatars: false,<br /> behavior: 'all'<br /> }<br />}).render().setUser('WWE').start();<br /></script><br /><br /><br />Swallow, E. (2011, January 28). How WWE Conquered the Social Media Arena. Mashable.<br /> Retrieved from <a href="http://mashable.com/2011/01/28/wwe-social-media/#">http://mashable.com/2011/01/28/wwe-social-media/#</a>sunilhttp://www.blogger.com/profile/09069023047406354107noreply@blogger.com5tag:blogger.com,1999:blog-3824706373403168773.post-22230236339661824472011-03-21T21:14:00.000-06:002011-03-21T21:14:23.313-06:00Writer's Guide to Digital media<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/tRueQ1Q6NGA?feature=player_embedded' frameborder='0'></iframe></div>Very condensed version of the 228 page <a href="http://www.australiacouncil.gov.au/writersguide">Writer's Guide</a> !Carolyn Trumperhttp://www.blogger.com/profile/00511646777050474271noreply@blogger.com0tag:blogger.com,1999:blog-3824706373403168773.post-981164532971867182011-03-20T23:58:00.001-06:002011-03-21T10:59:36.904-06:00Week 10: Guest Lecture<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://soundingunderground.files.wordpress.com/2010/11/charlafonoteca1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://soundingunderground.files.wordpress.com/2010/11/charlafonoteca1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption">Ximena Alarcon presenting at <a href="http://www.visionessonoras.org/index.php?ver=2010&lan=en&secc=visiones">Visiones Sonoras</a> organised by the CMMAS in Morelia – México. Image from the Sounding Underground <a href="http://soundingunderground.wordpress.com/2010/11/28/mexico-and-new-orleans-listening-practice-cross-disciplines/">blog</a>.</td></tr>
</tbody></table><br />
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This week Ximena Alarcon will be sharing her expertise with us. Ximena has prepared an interview for a community radio station in Devon (England) with Ariane Delaunois. It's a very detailed explanation of Ximena's <u><a href="http://www.mti.dmu.ac.uk/~xalarcon/soundingunderground/environment/sounding.html">Sounding Underground</a></u> project.<br />
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Abstract of <u>Sounding Underground</u>:<br />
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<div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Sounding Underground<o:p></o:p></span></b></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">year of production:</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> 2009<o:p></o:p></span></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">used technology (software etc):</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> Flash CS4 Actionscript 3.0 <o:p></o:p></span></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">required plug-ins:</span></b><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> Flash Player 9 or 10<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"><a href="http://soundingunderground.org/">http://soundingunderground.org</a><o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Short work description <o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">Sounding Underground is a virtual environment that invites users to interact with the soundscapes of three underground public transport systems: London, Paris and México City. Commuters’ memories and imaginations are represented in sounds and images that have been selected by volunteer commuters through an ethnographic process. These sounds are assembled in a sound score that acts as a multimedia user’s interface. The score contains sonic features unique to each metro distributed into:</span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> Entrance</span></i><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">, <i style="mso-bidi-font-style: normal;">Tickets</i>, <i style="mso-bidi-font-style: normal;">Corridors</i>, <i style="mso-bidi-font-style: normal;">Platform</i>, and <i style="mso-bidi-font-style: normal;">Carriage</i>,<i style="mso-bidi-font-style: normal;"> </i>correspond to the identifiable spaces recognised by any commuter,</span><span style="font-family: Arial; font-size: 11pt;"> as well as some shared sonic spaces: Amplified Voice, Steps, Doors, Trains Arriving. Each metro has a unique space: Paris (air sounds), Mexico (street vendors), and London (announcements). This environment allows commuters, through interactive options, to experience a process of listening and remembering, provoking the expression of an aural urban collective memory, through the narrative of an underground journey. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Interactivity<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">Each category contains a sequence of sounds that can be triggered by the user. S/he is invited to interact at his/her own rhythm and to feel free to navigate the spaces. In the interaction, sounds overlap both within categories and spaces, creating a sonic texture derived from the humans</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">’</span><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;"> and the machines’ counterpoint of daily life.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-family: Arial; font-size: 11pt;">In the graphic interface, each category contains a sequence of images. Although they change each time the user triggers a sound, they may not be directly associated with the sounds. They are close-up pictures of the textures from the metro spaces. Most are abstract images allowing one to focus attention on the sounds, which resembles the activity of wandering (as if lost in thought). The graphic spaces overlap to create the feeling of being in a common space that changes because of the movement of sound in space and not because of its graphic structure: the latter is fixed, and serves both as a score and as a user interface. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">Sounding Underground also invites you to write memories in text, produced by listening. These memories are being published randomly in the "Listening and Remembering" page. <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">Sounding Underground is the result of a practice-led research project studied commuter’s perceptions towards their daily life soundscape in underground public transport systems, taking the case studies of Paris and México City as counterparts of the London Underground. Sixteen commuters in Mexico, and sixteen in Paris, contributed to the creation of the environment, and their experiences were linked to the original project in London, in which twenty-four volunteers participated. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">Linking urban soundscapes through commuters’ memories invites us to acknowledge symbolic, social, economic and political issues of mobility in contemporary cities, from their perspective. This approach strives to make commuters contributors in the creation of these environments, and furthermore performers (as non-musicians) and narrators of their commuting experience. </span><span lang="EN-GB" style="font-family: Arial;"><o:p></o:p></span></div><br />
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Before listening to the interview, "play" with <u><a href="http://soundingunderground.org/">Sounding Underground</a></u>.<br />
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NOTE: the audio files are available in BlackBoard, there's a link from the home page.<br />
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The questions that are covered:<br />
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</div><div class="p2">1. From start to now (and future project). How did the art piece</div><div class="p2">(materially) took form?</div><div class="p2">2. How is the experience on the ethnographic aspect? on the</div><div class="p2">interdisciplinary aspect?</div><div class="p2">3. As a sound artist has the experience changed you and your sound</div><div class="p2">awareness/consciousness?</div><div class="p2">4. How was it as a sound specialist?</div><div class="p2">5. How was your artistic journey? Are you happy of the form it took</div><div class="p2">and what further development do you want the project to take?</div><div class="p2">6. How did you choose the cities you located the project?</div><div class="p2">7. How do the locations link to your life?</div><div class="p2">8. How was your own experience of sound when you travelled?</div><div class="p2">9. How rich was the inter relation between participants and you?</div><div class="p2">10. What interested you in collective memory, interactivity, in the</div><div class="p2">link between people and technology?</div><div class="p2">11. What have you understood of the reflective potential of</div><div class="p2">respondents? Are you satisfied of the experience representation of</div><div class="p2">your participants?</div><div class="p2">12. Are you reworking on your installations?</div><div class="p2">13. What will be your next direction/step after this research?</div><div class="p2"><br />
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</div><div class="p2">Please post any questions to Ximena here as she'll be checking back and will add her responses in the comments.</div>Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-3824706373403168773.post-48267326448081944652011-03-20T23:35:00.000-06:002011-03-20T23:35:00.151-06:00Week 10: Writers and Writing<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.180360720.no/wp-content/uploads/2009/12/transmedia-approach-420x315.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="http://www.180360720.no/wp-content/uploads/2009/12/transmedia-approach-420x315.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note: Image from <a href="http://www.180360720.no/index.php/archive/a-collection-of-ten-inspiring-ideas/">180/360/720</a>.</td></tr>
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<b>Week 10: Writers and Writing</b><br />
This week we’ll explore contemporary new media writing and examine how it might be different from<br />
*traditional* print-only works. As Andy Campbell notes of his works: “textual narratives are approached by Dreaming Methods as a key part of the multimedia mix rather than as the absolute central backbone – purposely open-ended, ambiguous, short, fragmentary – and are often additionally considered to be a powerful visual element: blurred, obscured, transient, animated, mouse-responsive.”<br />
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<b>Key ideas for this week:</b><br />
• Ways to write and read rich media documents in a networked environment.<br />
• Read the example books made with Sophie: http://sophieproject.cntv.usc.edu/demobooks<br />
• “The interactive nature of the process makes it possible for individual memories to be linked in a creative shared experience; it fosters the development of on-line sound-driven narratives.”<br />
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<b>Guest Lecture:</b><br />
Ximena Alarcon will share with us her ideas on creating and disseminating born digital work.<br />
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This week's seed questions:<br />
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<div class="MsoNormal" style="mso-pagination: none;"><span lang="EN-GB" style="font-family: Futura;">Q1. Ronni Bennett says that “in the end, it is all storytelling ...all communication is storytelling.” What are some examples in the online environment that support Bennett’s thinking?<o:p></o:p></span></div><div class="MsoNormal" style="mso-pagination: none;"><br />
</div><span lang="EN-GB" style="color: black; font-family: Futura; font-size: 12pt;">Q2. In “Convergence Culture: Where Old and New Media </span><span class="Apple-style-span" style="font-family: Futura; font-size: 16px;">Collide,” Henry Jenkins writes that transmedia storytelling works best when each medium is used to tell the part of the story that it’s most suited for and that each piece of this story. Find two examples of transmedia storytelling and explain why each platform and story part works best together (think of Radiohead and Heros as examples).</span><br />
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</div><span lang="EN-GB" style="color: black; font-family: Futura; font-size: 12pt;">Q3. In the print world, page layout is largely the job of the publisher. That is, neither the reader nor the writer has much choice about how the text (images/sound/video) appear on the “page.” With </span><span class="Apple-style-span" style="font-family: Futura; font-size: 16px;">digital writing, most writers (and readers) have deep input on how text (etc...) appears. </span><span class="Apple-style-span" style="font-family: Futura; font-size: 16px;">What is significant about this shift? What dialogues are opened up?</span><br />
<span lang="EN-GB" style="color: black; font-family: Futura; font-size: 12pt;"> </span> Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-3824706373403168773.post-20738617139218127212011-03-20T12:36:00.000-06:002011-03-20T12:36:40.975-06:00Innovation and Creativity<iframe title="YouTube video player" width="460" height="320" src="http://www.youtube.com/embed/NugRZGDbPFU" frameborder="0" allowfullscreen></iframe><br />
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I thought this video was a good example of transliteracyCarolyn Trumperhttp://www.blogger.com/profile/00511646777050474271noreply@blogger.com1tag:blogger.com,1999:blog-3824706373403168773.post-19168782672688926312011-03-14T22:31:00.000-06:002011-03-14T22:31:44.399-06:00My Transliteracy with winter<div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;"><span style="color: #c00000; font-family: "Century Gothic", "sans-serif";">My “transliteracy” with winter</span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Let me share one of my Transliteracy adventures. When I came to Canada, I learned all kinds of winter vocabulary and life skills from people around me. The words we use for different forms of water (snow, freezing rain, hoarfrost, hails etc.) were a real transliteracy experience. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZe3HQgQsLnx53UrJYd3vsCmwRbh-NJp1Ym4iCig3XAhdgpZJXxxc6o94gU14U8PbK74lgZssZ-vP05mOISE2RyvFXXQ3XMN8YywI7stoVxGVx8yD-ukA7yjEK5eriiOlWpHB3_NTag-K/s1600/edit+085.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZe3HQgQsLnx53UrJYd3vsCmwRbh-NJp1Ym4iCig3XAhdgpZJXxxc6o94gU14U8PbK74lgZssZ-vP05mOISE2RyvFXXQ3XMN8YywI7stoVxGVx8yD-ukA7yjEK5eriiOlWpHB3_NTag-K/s320/edit+085.jpg" width="320" /></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"><span style="mso-spacerun: yes;"> </span><span style="color: #990000;"><strong>Hoarfrost was totally a new terminology </strong></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">The frozen rivers and lakes, frozen waterfalls, all gave a profound transliteracy experience.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3v-SxsktrNiibUeYQcpptaHM0gtbegIPsdcSuCSd88zI2vc7Cw4eQhd0IGclZJ0gK-sPvWLE0muFxuef963S4tbg5GPGzqDOEqJ9PT7HAVnCymci7BrT69GvNqRKAsTWkHnY81Imbw6nt/s1600/P1010050.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3v-SxsktrNiibUeYQcpptaHM0gtbegIPsdcSuCSd88zI2vc7Cw4eQhd0IGclZJ0gK-sPvWLE0muFxuef963S4tbg5GPGzqDOEqJ9PT7HAVnCymci7BrT69GvNqRKAsTWkHnY81Imbw6nt/s320/P1010050.JPG" width="320" /></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="mso-spacerun: yes;"> </span>I was fascinated by ice fishing and the ability to drive on frozen waters. So one day as I realised it was safe to drive on the nearby lake, I went out for my adventure all by myself. I drove straight onto the frozen lake following the tracks. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="mso-fareast-language: EN-CA; mso-no-proof: yes;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv9nsQwZDdsQHUcEk9ytR8myh45P1wsIKSa4oKvcNI6_5v0iXKX-4WkecIu_SUA8MIw2rDs_g6NBcQJLuDMp3ZLntib15khjSla8D3G6TWlLyOw2lHo-88WW1s_UtRabdGVJiDj2Q9niWb/s1600/wintwer2+027.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv9nsQwZDdsQHUcEk9ytR8myh45P1wsIKSa4oKvcNI6_5v0iXKX-4WkecIu_SUA8MIw2rDs_g6NBcQJLuDMp3ZLntib15khjSla8D3G6TWlLyOw2lHo-88WW1s_UtRabdGVJiDj2Q9niWb/s320/wintwer2+027.jpg" width="320" /></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">What I didn’t know was that, it’s good to have a four wheel drive to do such adventures. I got struck in the middle of the lake. </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuhyphenhyphenRvFc935f7dnJfrAhWukrzUTfx8T330s8LxoQV8j-Tcc5icXcbdmXJ2KjQVa3OIGrkLH8KonuvjXmGvIp6ybw2A_1-Ro9KCIS1QVUpN0cMpT-C0OMFTnup3LQtmGtjIaJrv5jvIfZk/s1600/wintwer2+028.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuhyphenhyphenRvFc935f7dnJfrAhWukrzUTfx8T330s8LxoQV8j-Tcc5icXcbdmXJ2KjQVa3OIGrkLH8KonuvjXmGvIp6ybw2A_1-Ro9KCIS1QVUpN0cMpT-C0OMFTnup3LQtmGtjIaJrv5jvIfZk/s320/wintwer2+028.jpg" width="320" /></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;"> (Back home I told my family - Jesus walked on water, I drove.)</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="mso-fareast-language: EN-CA; mso-no-proof: yes;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Then I spotted some people ‘icefishing’. They lend me their hands to get out. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="mso-fareast-language: EN-CA; mso-no-proof: yes;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuXWtVOw7GdwuBfioDcj0F_whvBZM5-_NxZlwOVpKou5lPAavP6UeccCs3QV2sGXAllZ4gt1vqeTa0sh6x8KiwDuKtBcGvoBf99yNIUGJ7YZ6oXEdj3B8EAICO7ykZZJadSkTZhfRt153/s1600/wintwer2+029.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuXWtVOw7GdwuBfioDcj0F_whvBZM5-_NxZlwOVpKou5lPAavP6UeccCs3QV2sGXAllZ4gt1vqeTa0sh6x8KiwDuKtBcGvoBf99yNIUGJ7YZ6oXEdj3B8EAICO7ykZZJadSkTZhfRt153/s320/wintwer2+029.jpg" width="320" /></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">My first transliteracy adventure with winter gave me the courage to do many other things in the future including a winter drive to Yellowknife. </div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3824706373403168773.post-84360739118248011052011-03-14T21:42:00.001-06:002011-03-14T21:44:42.818-06:00Transliteracy - crossing borders?<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">Thank you for sharing these insightful ideas with us. From the day I joined for this course, the word transliteracy caught my attention. It was interesting to read about transliteracy and its meaning in various milieus. What caught my attention was the statement by Bernard Stiegler that past technologies have always involved a change in our phenomenological experience of the world (as cited in Transliteracy crossing divides). My personal experience as a foreign student, in encountering people, food habits, weather, entertainment etc in a way was an authentic introduction to transliteracy in various areas of “cultural and technological, economic, social or organic, cultural, and global” as pointed out by Jenkins. </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">The blueberry smoothie recipe sharing experience brings about the gist of transliteracy in an amusing way. Some of the video suggestions given are more on the note of participatory culture. I felt that the example of Asheninka tribe and their learning process was more on the note of hands on learning than transliteracy experience. There is obviously the process of sharing and learning from various environments. Can it be called transliteracy? </div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">I found this interesting comparison of learning process in children at the TED website. Is this just literacy or transliteracy?</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MZ1NcZ3K5EY?feature=player_embedded' frameborder='0'></iframe></div>Unknownnoreply@blogger.com0