Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Plausibility and Aesthetic Interpretation

1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Scientific Inquiry ◽  
The Other ◽  
Inquiry Science ◽  
Works Of Art ◽  
Different Types ◽  
Logical Structures ◽  
The One

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.

Subaltern mediators in the digital landscape

Target ◽  
2017 ◽  
Vol 29 (2) ◽  
pp. 319-338 ◽  
Author(s):  
Teresa Iribarren
Keyword(s):  
Cultural Capital ◽  
Web 2.0 ◽  
The Other ◽  
The Internet ◽  
Lingua Franca ◽  
Content Type ◽  
For Profit ◽  
Long Run ◽  
The One ◽  
Digital Landscape

This article explores translational literary Web 2.0 practices and user-generated cultural creations on the Internet, focusing on video poetry that re-creates canonical poets’ bodies of work. It will be argued that the use of for-profit platforms like YouTube and Vimeo by indie creators and translators of video poetry favours the emergence of new translational attitudes, practices and objects that have positive but also contentious effects. One the one hand, these online mediators explore new poetic expressions and tend to make the most of the potential for dissemination of poetic heritage, providing visibility to non-hegemonic literatures. On the other hand, however, these translational digitally-born practices and creations by voluntary and subaltern mediators might reinforce the hegemonic position of large American Internet corporations at the risk of commodifying cultural capital, consolidating English as a lingua franca and perhaps, in the long run, even fostering a potentially monocultural and internationally homogeneous aesthetics.

scholarly journals What Is Digital Labour? What Is Digital Work? What’s their Difference? And Why Do These Questions Matter for Understanding Social Media?

2013 ◽  
Vol 11 (2) ◽  
pp. 237-293 ◽  
Author(s):  
Christian Fuchs ◽  
Sebastian Sevignani
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Marxist Theory ◽  
The Other ◽  
Work Process ◽  
Concrete Case ◽  
Digital Work ◽  
Productive Labour ◽  
The One ◽  
General Work

This paper deals with the questions: What is digital labour? What is digital work? Based on Marx’s theory, we distinguish between work and labour as anthropological and historical forms of human activity. The notion of alienated labour is grounded in a general model of the work process that is conceptualized based on a dialectic of subject and object in the economy that we present in the form of a model, the Hegelian-Marxist dialectical triangle of the work process. Various aspects of a Marxist theory of work and labour, such as the notions of abstract and concrete labour, double-free labour, productive labour, the collective worker and general work are presented. Labour is based on a fourfold alienation of the human being. After these concepts are introduced, they are used for discussing the notions of digital labour and digital work. The presentation is on the one hand general and on the other hand uses Facebook as a concrete case for explaining how digital labour functions. Digital work is the organisation of human experiences with the help of the human brain, digital media and speech in such a way that new products are created. Digital labour is the valorisation dimension of digital work. We conclude that we require the transformation of digital labour into digital work, a true social media revolution that makes “social media” truly and fully social. We also argue why in our view work is not the same as labour by discussing the concept of playful work and pointing out limits of concepts such as antiwork, postwork and zerowork.

Brave New Digital Tools for Action Research in Education

2017 ◽  
pp. 42-64
Author(s):  
Reinhard Bauer ◽  
Klaus Himpsl-Gutermann ◽  
Martin Sankofi ◽  
Petra Szucsich ◽  
Ruth Petz
Keyword(s):  
Digital Media ◽  
Rapid Development ◽  
The Other ◽  
Digital Tools ◽  
Practice Research ◽  
Scientific Disciplines ◽  
Or Practice ◽  
Research In Education ◽  
The One ◽  
Insight Into

Due to the rapid development of digital media, the work of researchers in all scientific disciplines has dramatically changed. The objective of this chapter is to give a brief overview of digital tools that can be used for action or practice research in the context of seamless learning. It is the intention of the authors to, on the one hand, provide some initial orientation and deeper insight into the complex subject matter of digital science. On the other hand, researchers shall be equipped with a user guide that encourages them to try out various digital tools for searching, collecting, annotating, analyzing, visualizing, interpreting as well as publishing information. Owing to the dynamic nature of the issue under review this chapter will undoubtedly only offer a snapshot.

Digital Media and Memory Balkanization

2021 ◽  
Author(s):  
Francis L.F. Lee ◽  
Joseph M. Chan
Keyword(s):  
Social Media ◽  
Hong Kong ◽  
Collective Memory ◽  
Digital Media ◽  
Negative Impact ◽  
The Other ◽  
Other Hand ◽  
Political Forces ◽  
The One ◽  
The Impact

Chapter 8 discusses the impact of digital media on collective memory. The chapter examines both the positive and negative impact of digital and social media. On the one hand, the analysis notes how digital media provided the channels for memory mobilization and the archives for memory transmission. On the other hand, the analysis examines the problematics of memory balkanization. It explicates how political forces have shaped the development of digital and social media in Hong Kong and how competing representations of the Tiananmen Incident and commemoration activities are articulated and reinforced within distinctive memory silos.

Infoxication 2.0

2009 ◽  
pp. 60-79 ◽  
Author(s):  
Elena Benito-Ruiz
Keyword(s):  
Web 2.0 ◽  
Common Sense ◽  
Time Management ◽  
Information Overload ◽  
Future Generation ◽  
Language Learner ◽  
The Other ◽  
Know How ◽  
The One

This chapter reviews the issue of information overload, introducing the concept of “infoxication 2.0” as one of the main downsides to Web 2.0. The chapter describes some of its potential effects on the learner, on the one hand, and puts forward some solutions to deal with the informational and communication barrage worsened by Web 2.0 plethora, on the other. The review of the issue reveals that although the problem of information overload has existed for many years, the massive abundance of fragmented Web 2.0 informational and communicative resources for the language learner might become an obstacle, i.e. it is often difficult to find what’s useful. Two kinds of solutions are identified, those based on common sense and time management, and those based on technology agents such as RSS readers and especially the future generation of RSS mash-up tools. An emphasis is placed on the role of the teacher as the facilitator to provide the know-how on these tools.

Digitalisierung und Nachbarschaft

2019 ◽  
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Local Community ◽  
Social Science Research ◽  
Science Research ◽  
The Other ◽  
The Internet ◽  
The Social ◽  
The One ◽  
The Relationship

There has hardly been any other development that has changed our everyday lives as significantly as digitalisation, and there is hardly anything as commonplace as neighbourship. Despite the links between these two concepts growing, they have been neglected in social science research in Germany so far. The prevailing sentiment is that the Internet and social media sites have no connection to the real world, but there are countless neighbourship groups on Facebook, Twitter hashtags named after neighbourhoods or entire websites, such as ‘nebenan.de’, which endeavour to strengthen local community bonds through digital means. In short, the social developments in this respect are already considerably more advanced than the knowledge that exists about it. This anthology makes a fundamental contribution to the sociological debate on digitalisation and neighbourship by aiming to provide an overview of the relationship between digitalisation and neighbourship on the one hand, and open up avenues for further research on the other. It therefore examines and systematises attempts to strengthen local community bonds using digital media from different perspectives.

Ästhetische Objektivität

2015 ◽  
Vol 63 (6) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
The Other ◽  
Works Of Art ◽  
The Difference ◽  
The One

AbstractThe question posed in this paper is in what sense we should say that our judgments about works of art can claim to be objective. It draws upon recent discussions in analytical aesthetics on the one hand and on the work of Hegel, Gadamer and McDowell on the other. The aim of the paper is to argue for the possibility of an objectivistic understanding of judgments on works of art. It does so by trying to render the foundations of subjective accounts of such judgments problematic and by trying to show that the difference between objective and mere intersubjective claims of judgments isn’t a valid difference at all.

scholarly journals Communicative Model – Author, Hero, Text, Recipient in a Postmodern Novel

2021 ◽  
Vol 12 (3) ◽  
pp. 96-106
Author(s):  
Natalia Levchenko ◽  
Pecherskyh Lubov ◽  
Olena Varenikova ◽  
Nataliya Torkut
Keyword(s):  
World View ◽  
The Other ◽  
Communicative Interaction ◽  
Important Place ◽  
Postmodern Novel ◽  
Model Author ◽  
The One ◽  
Literary Model ◽  
Death Of The Author ◽  
The Way

The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel. A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author’s world view, and at times minimized and devaluated the author’s identity, on the other. Therefore, from the end of the 1990s the ways of expressing author’s “Self” changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text. The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression. The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings.

scholarly journals Ontological Machinery of the Artistic Process: the Becoming-Technical and Art

TECHNOLOGOS ◽  
2020 ◽  
pp. 88-98
Author(s):  
Tcyrlina Yana
Keyword(s):  
Modern Art ◽  
The Other ◽  
Dual Purpose ◽  
Artistic Process ◽  
Works Of Art ◽  
Urgent Task ◽  
The Difference ◽  
The One ◽  
Final Question ◽  
The Relationship

This article pursues dual purpose. On the one hand, the author analyzes the general and the most important in the technical being since only therewith it is possible to conceptualize the sphere of technical objects and to determine the place of technics with respect to the art. So the article is devoted to new ontological opportunity of the technics’ entity perception by its connection with art. This relationship we consider in the context of “technological revolution” in the art. Moreover, it has been tried to be revealed possible mechanisms of technics emancipation with the help of the art and to be shown that technology can emancipate the art using both artistic techniques and inartistic technological processes. On the other hand, the aim of our article is to provide with a presentation of some onto technological key ideas, along with some conceptual approaches (for example, Levis Brуant’s onto-cartography) which we can distinguish by their further connection with the modern art. Conception of ontology in the terms of technics by all means has become the urgent task for philosophy, and one of the ways to solve this task is to investigate the relationship between ontology and technics. The author of the article argues that the confrontation between nature and technology is an illusion. We tried to complete this argument combining the ontology of nature and of technology in one concept – the concept of machine. Recently most works of art have become technological objects revealing the problem of “technical” art. In the article it is proposed the analysis of some modern works of art and is demonstrated that “the nature” and technics cannot be no more opposed and differentiated since one gives birth to another. Moreover, it is existed only techno-nature and its production (in the difference of repetition and creation) is the final question of techno-art.

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