Conflicts, integration, hybridization of subcultures: An ecological approach to the case of queercore

This paper investigates the case study of queercore, providing a socio-historical analysis of its subcultural production, in the terms of what Michel Foucault has called archaeology of knowledge (1969). In particular, we will focus on: the self-definition of the movement; the conflicts between the two merged worlds of punk and queer culture; the \u201cinternal-subcultural\u201d conflicts between both queercore and punk, and between queercore and gay\lesbian music culture; the political aspects of differentiation. In the conclusion, we will offer an innovative theoretical proposal about the interpretation of subcultures in ecological and semiotic terms, combining the contribution of the American sociologist Andrew Abbot and of the Russian semiologist Jurij Michajlovi\u10d Lotma

The challenge of visuality for electronic literature: Conference panel: The medium

Whilst there may be aesthetic tropes within digital media, there is no universally accepted authority within contemporary culture nor is there an easy mutual acceptance of what is “right and proper” or indeed legitimate outside the now virtue of being popular and well followed. Indeed the now bodily distanced and disinhibited digital citizen frequently demonstrates a palpable distain for the elite and pretentious. Considering this, any community with Literature in its name may have an identity problem; literariness still pertains to an elevated quality of artistic or intellectual merit and is thus counter to popular cultural production. In addition, mainstream culture has successfully commoditized many counter-cultural communities. Electronic Literature has arguably not been through such commodification processes, and the question of interest is why not? To that extent this paper seeks to explore possible answers. Investigating the broader shifts towards increased visuality within modern culture the paper will discuss and revisit the discourses on the power structures of the gaze, consider spectatorship’s dominance over readership and interaction and co-creation and the function of the image within contemporary narrative forms inside and outwith Electronic Literature. The paper will also consider the politics implied in the move to open access, the fluid distribution of often context-less “images”, how this relates to prior notions of literary publishing, and whether this manifests as an opportunity or a challenge to Electronic Literature’s dissemination. Lastly and toward a conclusion, the paper will propose that if we consider the tradition of literature as one that is driven by the expression of human experience, where in today’s context literary “traditions” are not longer built around specific commonalities of form (i.e. predominately verbal language) but rather subject matter, themes and worldviews then the questions of identity and of “literariness” can evaporate to make space for fuller participation in the ocular freedoms in contemporary culture

Hybrid Playful Experiences : Playing between Material and Digital - Hybridex Project, Final Report

Some of the future’s most important product innovations will be made at the borderline of physical and immaterial realities. New technologies enable development where immaterial products become materialized in novel ways, while material products and environment will be augmented with digital services. In this evolution immaterial, digital services will form multifaceted value networks with material products. The creative and playful design solutions and user cultures will form the basis for the utilization of these novel potentials in design of innovative and engaging experiences

Music Encoding Conference Proceedings

UIDB/00693/2020 UIDP/00693/2020publishersversionpublishe

Messaging in the noosphere: theatre art, integrated media, and human-comupter interaction

Bibliography: p. 188-19

The Technological Imaginaries Of Social Movements: The Discursive Dimension Of Communication Technology And The Fight For Social Justice

This dissertation examines how social movements envision technology in a political way. Building on constructivist, cultural theories of social movements, literature from media history, and insights from Science and Technology Studies, I offer a discursive approach to technology, based on the notion of “technological imaginaries”: sets of practice-based beliefs, individual and collective, implicit and explicit, about the role of technology in social life and social change. First, I identify a current dominant technological imaginary, arising from Silicon Valley, which is based on the equation of digital technologies with freedom and democracy, the reliance on technologies for the solution of social problems, and an alignment with neoliberalism. I then examine how three contemporary leftist social movements – the Hungarian internet tax protests of 2014, the Italian occupied social center LUMe, and the American Philly Socialists – construct their own technological imaginaries in response to Silicon Valley’s. I explore these three cases through semi-structured interviews and visual focus groups, an innovative method based on a collective drawing task. I propose a typology of social movements’ technological imaginaries, based on how they respond to Silicon Valley’s dominant imaginary. Imaginaries of appropriation, such as that of the Hungarian internet tax protests, accept both the dominant technological imaginary and the technologies of Silicon Valley. Imaginaries of negotiation, such as those of LUMe and the Philly Socialists, reject the dominant imaginary, but allow for the use of Silicon Valley’s technologies. Imaginaries of challenge reject both the imaginary and the technologies of Silicon Valley. I also argue that appropriation, negotiation, and challenge are shaped by three political factors: the ideology of the social movement, the political context, and the presence of other prominent technological imaginaries. I suggest that movements’ different technological imaginaries point to the existence of multiple, situated, political internets: even if activists all use the same digital technologies, these technologies hold different political meanings for them. This dissertation thus contributes to the literature by reconceptualizing the relationship between technology and social movements, providing a framework and an empirical qualitative approach to account for how movements are already imagining and experiencing technologies as political

Value creation in online communities

In recent years, the phenomenon of watch collecting has increased drastically in popularity. With the rise of internet and later social media, information has been more readily available making the hobby more accessible. The meaning of value creation has also changed a lot in the 21st century, so new aspects of the concept have risen to challenge the status quo. This study aims to understand how value is created in online communities, focusing on luxury and vintage mechanical watches. The theoretical section reviews the literature and theories on value, luxury, and value creation and presents a framework that was used for the purposes of this study. The approach used was qualitative since the aim was to understand the phenomena in more detail. Netnographic method was used to extract data from relevant internet discussions and analyzed using qualitative content analysis. The main findings were revolved around what value is for mechanical watches in terms of luxury, as well as vintage. For luxury watches quality, self-identity and hedonic values were the most prominent ones whereas in vintage pieces authenticity, nostalgia, design and allegory values were considered to be the most important. All these then intertwine with each other when considering luxury vintage pieces. Value creation in the communities was found to arise from the interactions between the community members the most important ones being information sharing and receiving, hype creation, retention of value through consumer actions and building of allegory. Several different contributors to the community were also identified, with all of them contributing towards the consciousness of the community, which highly increases engagement.Kellojenkeräily harrastuksena on noussut räjähdysmäisesti viime vuosina internetin ja sosiaalisen median ansiosta. Tiedon ja sisällön suuren määrän ansiosta harrastus on tullut helpommin lähestytettäväksi myös tavallisille ihmisille. Samalla arvonluonnin käsite on muuttunut suuresti 2000-luvulla, minkä ansioista uusia suuntauksia on noussut haastamaan entistä ymmärrystä. Tämä tutkimus pyrkii ymmärtämään, miten arvonluonti virtuaaliyhteisöissä tapahtuu keskittyen luksus-, ja vintagekelloihin. Teoreettinen osio tutkii olemassa olevaa kirjallisuutta niin näiden molempien arvojen, kuten myös virtuaaliyhteisöjen osuudesta asiaan, joiden pohjalta tutkimuksen kehys on luotu. Tutkimus on laadullinen, koska virtuaaliyhteisöjen osuutta arvonluontiin haluttiin ymmärtää tarkemmin. Netnografisella metodilla saatiin suuri määrä oleellista dataa tietyn virtuaaliyhteisön relevantimmista keskusteluista, joka analysoitiin sisällöllisesti. Suurimmat löydökset liittyivät arvojen eri komponentteihin. Luksuskelloihin liittyen isoimmat arvokomponentit olivat laatu, identiteetti hedonistinen arvo, kun taas vintagekellojen suhteen suurimmat komponentit olivat autenttisuus-, nostalgia., suunnittelu- ja allegorinen arvo. Vintage luksuskelloissa nämä kaikki taas sitoutuu yhteen vaihtelevasti. Virtuaaliyhteisön rooli arvonluonnissa keskittyy yhteisön jäsenten kanssakäyntien yhteyteen, joista suurimmat arvonluojat olivat tiedonjako, ”hype:n” rakennus, arvon ylläpito kuluttajan toimista ja allegorian rakennus sekä ylläpito. Myös yhteisön rakentamiseen liittyviä tekijöitä pystyttiin osoittamaan, joista kaikki edistää yhteisön ”tietoisuutta”, joka taas rohkaisee edelleen kanssakäyntiin yhteisön sisällä

Aesthetic Programming

Aesthetic Programming explores the technical as well as cultural imaginaries of programming from its insides. It follows the principle that the growing importance of software requires a new kind of cultural thinking — and curriculum — that can account for, and with which to better understand the politics and aesthetics of algorithmic procedures, data processing and abstraction. It takes a particular interest in power relations that are relatively under-acknowledged in technical subjects, concerning class and capitalism, gender and sexuality, as well as race and the legacies of colonialism. This is not only related to the politics of representation but also nonrepresentation: how power differentials are implicit in code in terms of binary logic, hierarchies, naming of the attributes, and how particular worldviews are reinforced and perpetuated through computation. Using p5.js, it introduces and demonstrates the reflexive practice of aesthetic programming, engaging with learning to program as a way to understand and question existing technological objects and paradigms, and to explore the potential for reprogramming wider eco-socio-technical systems. The book itself follows this approach, and is offered as a computational object open to modification and reversioning

A Phenomenological approach to media art environments: The Immersive art experience and the Finnish art scene

This research focuses on immersive art, defined as a multimedia experience where visitors interact with artwork whilst immersed in a range of sensory experiences. In this dissertation, I investigate the immersive art experience from the perspective of art history, social theory, and media studies situated within a phenomenological theoretical framework. I present a comparative analysis of forms of immersive spatiality, including projected moving-image art, spatial environments, participatory installations, video art installations and interactive environments in the international art scene. One of my objectives is to emphasise the role of video art in the development of interactive and immersive art environments. The growing importance of spectators for giving meaning to the artwork allows immersivity to be analysed in relation to the notions of spectacle and spectatorship. I connect disciplines, practices and concepts by adopting principles from Maurice Merleau-Ponty’s phenomenological writings. Spatiality and motility are pivotal points in immersive experiences. Immersive art, as an embodied mutual experience, materialises the phenomenological concepts of spectatorship, corporeality, motility, porosity, chiasm, and encounter. I have selected a group of relevant Finnish artists from different generations to characterise the development of media art and, particularly, immersive media art in an international context. The group includes Eija-Liisa Ahtila, Lauri Astala, Laura Beloff, Hanna Haaslahti, Tuomas A. Laitinen, Erkka Nissinen, and Marjatta Oja. I examine the historical dissemination of phenomenology in Finland and a renewed interest in the 1990s which coincided with the spatialisation of video art and the emergence of immersivity. I also investigate the opening of Kiasma Museum of Contemporary Art and its impact on Finnish culture, and the recent Amos Rex Museum, specifically built for immersive exhibitions. Regarding the unstable nature of media art, I analyse the changes in displaying art collections and exhibitions, the new commitments of art museums and the innovative directions taken by media conservators. My examination of immersive art, with its performativity and transience, reveals environmentally friendly and sustainable aspects.Fenomenologinen tulokulma mediataideympäristöihin. Immersiivinen taidekokemus ja Suomen taidekenttä Tämä tutkimus käsittelee immersiivistä taidetta multimediaalisena kokemuksena. Immersiossa kävijät ovat erilaisten aistimellisten kokemusten ympäröiminä vuorovaikutuksessa taiteen kanssa. Tutkin väitöskirjassani immersiivistä taidekokemusta fenomenologisessa teoriakehyksessä taidehistorian, yhteiskuntateorian ja mediatutkimuksen näkökulmasta. Esitän vertailevan analyysin immersiivisistä tilallisuuden muodoista, joihin sisällytän liikkuvan kuvan projisoinnit, tilateokset, osallistavat installaatiot, videoinstallaatiot ja interaktiiviset ympäristöt kansainvälisen taidekentän ilmiöinä. Yhtenä pyrkimyksenäni on painottaa videotaiteen merkitystä interaktiivisen ja immersiivisen taiteen kehityksessä. Katsojien kasvava rooli taideteoksen merkityksen muodostuksessa tarjoaa perustan immersion analyysille nimenomaan spektaakkelin ja katsojuuden viitekehyksessä. Yhdistän eri tieteenaloja, käytäntöjä ja käsitteitä toisiinsa Maurice Merleau-Pontyn fenomenologisten kirjoitusten avulla. Tilallisuus ja liike ovat immersiivisten kokemusten ytimessä. Jaettuna ruumiillisena kokemuksena immersiivinen taide ilmentää materiaalisesti fenomenologisia katsojuuden, ruumiillisuuden, liikkeessä olemisen, huokoisuuden, kiasman ja kohtaamisen käsitteitä. Olen valinnut joukon eri sukupolvia edustavia suomalaistaiteilijoita hahmot-taakseni mediataiteen ja erityisesti immersiivisen mediataiteen kansainvälisiä kehityskulkuja. Heihin lukeutuvat Eija-Liisa Ahtila, Lauri Astala, Laura Beloff, Hanna Haaslahti, Tuomas A. Laitinen, Erkka Nissinen ja Marjatta Oja. Käsittelen fenomenologian saapumista Suomeen sekä siihen 1990-luvulla videotaiteen tilallistumisen ja immersion esiin nousun yhteydessä uudelleen virinnyttä mielenkiintoa. Tarkastelen myös Nykytaiteen museo Kiasman perustamista ja sen vaikutusta suomalaiseen kulttuuriin, samoin kuin vastikään avattua Amos Rex -taidemuseota, joka on rakennettu erityisesti immersiivisiä näyttelyitä silmällä pitäen. Analysoin muutoksia taidekokoelmien ja näyttelyiden esillepanossa, taidemuseoiden uudenlaisia sitoumuksia ja mediataiteen kuratoinnin uutta luovia suuntia suhteessa mediataiteen nopeasti muuttuvaan luonteeseen. Painottamalla performatiivisuutta ja hetkellisyyttä nostan immersiivisen taiteen analyysissani näkyville sen ympäristöystävällisiä ja kestäviä ulottuvuuksia