Karen Felzer Karen Felzer is a research scientist on the Earthquake Hazards team. Her research involves using statistical techniques to study earthquakes, with a.
Mi. T5 abstracts. Hardly a Dying Art: Analyzing Print News in the Unconventional Form of Creative Non- Fiction Books, Katherine Aberbach. While newspaper journalism has seen better days, not every form of print news is struggling. In fact, creative nonfiction books are experiencing a tremendous resurgence in popularity and prestige, and have recently assumed a new identity as a powerful medium of communication. This paper argues for increased scholarly attention to book- based journalism. By reviewing the history of socially minded and creatively written American journalism and literature, I illustrate the various links between journalism and creative nonfiction.
Geological Society Of America Abstracts With Programs 2007 Gsxr
GSA Abstracts with Programs Books No Longer Printed: GSA has been printing the abstracts volumes for our meetings since prior to. Browse Specific Meetings: Search All GSA Meetings: Click on 'Search Abstracts' link associated with a specific meeting listed below. Select the day > session. The New Great Game - The New Colonization in Globalization, Sarina Khan Reddy With the intersection of capitalism, technology and the media, appropriation is the. Trip Description Celebrate the bicentennial of William Smith’s geological map of Britain with preeminent Smith scholar Hugh Torrens, as we visit the Academy of.
Geological Society Of America Abstracts With Programs 2007 Calendar
I conduct a close reading and analysis of Barbara Ehrenreich’s Nickel and Dimed to demonstrate the ways in which creative nonfiction fulfills popular expectations of “news.”Networked Art: Displaced Commentaries, Multiple Artifices and Many Authors? Lanfranco Aceti. The cultural and critical impact of new technologies has altered the perception of authorship and the modalities used to create artistic products that reflect contemporary social activities. These new media based artistic practices generate the frameworks for experiences of artworks - virtual and real - that absolve both the function of social activism and critical commentary of contemporary society. Exotopia Revisited: The Author Inside, Outside and Inside Out, Lily Alexander. This paper will explore the theoretical debates in narrative theory on the relationships between the author and the fictional worlds.
This is an issue very relevant to literature, film, and new media practices (games and interactive fiction, for example). Exotopia, a term in narrative theory attributed to Bakhtin means that the author is placed firmly and unequivocally outside of the text.
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Bakhtin’s original term, however, was misunderstood. This misinterpretation gave birth to confusion and limitations in understanding new trends and developing experimental practices. I will also discuss what other renowned theorists and authors/directors have to say on the subject. The paper will explore such issues as . To evaluate this, I conducted semi- structured interviews with three bloggers, finding four broad patterns in how they practiced and talked about their blogging: 1) they see the growth of new media expertise as tightly linked to the development of critical commentary skills and healthy social relationships; 2) they see themselves as creators and communicators of public information goods; 3) they view their blogs as simultaneous depictions of personal identity, social position and public professionalism; and 4) they closely monitor how others are represented in their blogs. The contention here is that such concerns are not only features of personal publishing but, more broadly, of contemporary civic literacy.
Ownership in the Digital Age: A Sociological Approach, Giovanni Boccia Artieri, Fabio Giglietto, Luca Rossi. The modern legal construction of intellectual property is mainly based on the assumption that intellectual products have the same status as things and must be protected as the private property protects real goods: giving a sole and despotic dominion over them. We will address this issue from a sociological point of view using social systems theory as a theoretical framework. Under this perspective the function of private property is mainly to avoid conflicts in the society (thus making easy the reproduction of communication) making a larger number of people accept the fact that a smaller group holds scarce resources. Today this perspective collapse under the reality of the new media practices. However, Lost is also breaking new ground in transmedia storytelling, by distributing relevant narrative content across a range of media platforms. This paper will consider the combination of economic and creative motives involved in the production of Lost's extensions, including The Lost Experience ARG, the novel Bad Twin, and the forthcoming Lost mobisodes and video game.
This paper will explore several questions raised by the proliferation of narrative extensions surrounding Lost, with particular emphasis on how narrative extensions should be understood in relation to the show's core narrative. Wanna Headbang in San Andreas?: Gaming and Music Industry Negotiations in the 1. Ben Aslinger. While music licensing for film became a critical part of the blockbuster in the late 1.
Why did publishers such as Electronic Arts, Ubisoft, and Konami develop interests in music licensing? I also argue that the music industry's desire to exploit new methods of promotion ran up against the industry's ambivalence regarding new media technologies of distribution (such as MP3s and sites such as Napster), creating roadblocks in these 1. Sketching a Theory of New Media: The Case of Cybermohalla from India, Sanjay Asthana. Cybermohalla (Cyber- Neighborhood) is an experimental project designed to enable democratic access to information and communication technologies (ICTs) among poor youngsters, mostly school dropouts.
Working at media labs, the participants write, draw and sketch a range of verbal and visual narratives and texts published as books, diaries, magazines, and wallpaper that become available in print as well as digitized formats. These young people from the poor neighborhoods of Delhi explore new media technologies not only for self- expression and informal learning, but also as interventions into the cultural politics of the city. Although the Internet and the World Wide Web are increasingly becoming a staging “space” for activism and protests involving a range of social actors, they mostly resemble a benign de- materialized realm of free floating information. In the hands of the youngsters from Cybermohalla, however, the new media forms and narratives acquire an immediacy and materiality that is worth exploring. Sci- Fi Narrations Become Real: Dematerialized and Mechanized Body in the Real Life, Sule Atilgan.
This article examines emerging mechanical replica beauty of the human body. This postmodern creature is thye result of the collaboration between science fiction narrations and medical technology and art: machine aesthetics. Community’s dependence on the machine is increasing day to day. Consequently the street is full of people that appear like cyberpunk heroes; dressed like cyberpunk movie fashion. Science fiction narrative and vision, fantasies from Mary Shelley’s Frankenstein to Kubric’s AI about human and machine, organic and inorganic combinations become real.
A machine aesthetics has developed, too, begining in the Industrial Revolution. DIY Copyright Reform: How to Liberate Fair Use for Tomorrow's Media Literacy, Pat.
Aufderheide, Renee Hobbs. What is fair use in a participatory era?
Media literacy teachers are on the front lines of this challenge, as they use popular culture in the classroom and begin to move into online environments, games and social networking. This panel showcases preliminary results of research on copyright practices for media literacy education. Attendees will participate in an open session to extend the map of current problems and practices, contributing to the building of a code of practices that can liberate fair use for far broader media literacy practices than ever before. Authorship in Interactive Media: Collaboration, Interaction, and User- Generated Content in the Games Industry, Alec Austin. Where is authorship located in a computer game? In addition, the spread of tools that allow end users to modify existing game content further blurs the line between audiences and content producers.
This paper will trace the history and theory surrounding ideas of auteurship and delve into the role of authorship and user- generated content in both electronic and tabletop games (such as Dungeons & Dragons and Magic: the Gathering). By examining how game designers create frameworks to shape their audience’s experience, and how that audience interacts with, interprets, and distorts those frameworks, it will be demonstrated that the recent trend towards user- generated content is merely the newest manifestation of a long history of co- creation between game designers and their audience. Textual Poaching of Digital Texts: Hacking and Griefing as Acts that Create Performative Narratives in Second Life, Burcu Bakioglu. The open- source environment provided by Second Life, which allows the metaverse to be built by its users, not only attracts a considerable amount of hackers who are able to appropriate and poach the textual space by creating hacks that make the world behave in unforeseen ways, but also provides an environment ripe for second- hand textual poaching in which these legitimate hacks are appropriated for other purposes such as griefing (activities that make the game less enjoyable for other residents). I will argue that the activities of these groups become performative acts and, moreover, these activities instigate other acts that are equally performative, such as generating narratives created by other residents who actively participate in blogs and forums to discuss these events.
Digital Marionettes – Training with Technology, J. A. Ball, Matthew Gray. As Thomas S. Kuhn argued in The Structure of Scientific Revolutions, new paradigms of knowledge and community require novel exemplars. In this paper, we offer the work of Robert Lepage’s French- Canadian production company Ex Machina as just such a model for how academic training institutions in the arts should be co- evolving.
As Lepage describes Ex Machina, it is a “multidisciplinary company bringing together actors, writers, set designers, technicians, opera singers, puppeteers, computer graphic designers, video artists, film producers and musicians.” Specifically, we offer a morphology of this interdisciplinary creative process in the making of The Far Side of the Moon (2.