The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

The Sims as Resource: A Virtual Ethnography Evaluating the Concept of Digital Information Culture in the Gaming World

This study looks into the life of a virtual gaming community, CTO Sims – a small slice of a wider community that engages in what Bruns (2006) has termed produsage, remediating videogame assets and content from a PC game, The Sims (2000) into custom or user-generated content – a practice also called ‘modding’. Through a virtual ethnographic methodology, this study explores the digital library at the heart of CTO Sims, and the participatory culture (Jenkins, 1992; 2006) which has grown up around it. This paper presents a narrative of an online videogaming produsage community, and through a process of immersion uncovers and probes into the everyday practices of commodification and produsage as they take place in the virtual field. The study begins to develop a theory of information culture by observing and exploring the CTO Sims community, its members, and their roles in knowledge and information economies. It is concluded that digital information cultures within online gaming communities form around the collaborative creation and exchange of digital cultural artefacts, in heterarchical networks that develop their own unique organisational and classification conventions. Moreover, these communities form support networks for members, acting as repositories for shared knowledge, skills and experiences. Freedom of communication acts as a tool for the generation of social and knowledge capital, and enables the growth of strong ties of affiliation between members. Further research is encouraged in private, offline produsage spaces, and into the individual motivations that drive regular users to become produsers

"Being in a Knowledge Space": information behaviour of cult media fan communities

This article describes the first two parts of a three-stage study investigating the information behaviour of fans and fan communities, focusing on fans of cult media. A literature analysis shows that information practices are an inherent and major part of fan activities, and that fans are practitioners of new forms of information consumption and production, showing sophisticated activities of information organisation and dissemination. A subsequent Delphi study, taking the novel form of a 'serious leisure' Delphi, in which the participants are not experts in the usual sense, identifies three aspects of fan information behaviour of particular interest beyond the fan context: information gatekeeping; classifying and tagging; and entrepreneurship and economic activity

Second Life : representation and remediation of social space

Ao longo da última década os jogos online e as plataformas sociais têm-se tornado cada vez mais populares, tendo vindo a contribuir para o desenvolvimento da internet. Os jogos online multiplayer têm conquistado cada vez mais utilizadores. Estes têm como locus a realidade virtual e como objetivo a recriação de um novo mundo. Um exemplo deste tipo de jogos é o Second Life, um jogo social que conta com um elevado número de utilizadores – cerca de 31 milhões de utilizadores registados. Esta plataforma foi desenvolvida pela Linden Lab e reúne as características de um mundo virtual: é um cenário digital tridimensional, no qual utilizadores de todo o mundo, representados por avatares, interagem em tempo real formando diversos tipos de redes sociais. Uma das suas características distintivas é o facto de 99% do conteúdo existente dentro do espaço virtual ter sido desenvolvido pelos utilizadores. Os jogadores, denominados residentes, estão a contribuir não só na construção do espaço, mas também para o desenvolvimento social deste mundo virtual. Para além disto, existem mais quatro características que tornam o Second Life um objeto de estudo interessante: todos os avatares são controlados por seres humanos em tempo real; o reconhecimento de direitos de propriedade intelectual; a existência de uma micro-moeda – o Linden Dollar; e o facto de todos os jogadores terem acesso a ferramentas básicas de construção, e à linguagem de programação desenvolvida pela Linden Lab, a Linden Scripting Language, essenciais para criar objetos. O Second Life é um espaço colaborativo e participativo que, apesar de ser um jogo, oferece aos seus utilizadores uma experiência muito diferente da vivida nos videojogos tradicionais. Por ser um jogo do tipo caixa de areia os jogadores podem estabelecer uma relação diferente com esta plataforma, pois podem contribuir para as diversas dimensões da vida dentro do jogo. Devido às suas características, este mundo virtual tem despertado o interesse de investigadores de diferentes áreas que têm procurado perceber o seu impacto para a interação social, educação, economia, lei, e indústrias criativas. No entanto, tendo em conta que o ‘espaço’ é um elemento fulcral na investigação em Ciências Humanas e uma das áreas priveligiadas pela European Science Foundation para a investigação em Ciências Sociais e Humanas, há, ainda, a necessidade de perceber como é que este espaço digital está a ser desenvolvido, e que narrativas culturais o estão a moldar. Uma vez que o Second Life reflete a importância dos mundos virtuais para a interação online, torna-se fundamental compreender que impacto a virtualização das relações sociais pode ter para a interação interpessoal e para o desenvolvimento de um novo tipo de ‘comunidades imaginadas’. A presente investigação centra-se no Second Life e procura perceber de que forma poderá este novo espaço de interação estar a contribuir para o aparecimento de uma nova dimensão social. Uma dimensão resultante das possibilidades oferecidas por uma plataforma tecnológica apenas disponível através da internet, combinadas com o potencial criativo dos seus utilizadores. Com o intuito de contribuir para um melhor entendimento do potencial sociocultural deste mundo virtual, este estudo tem como base uma investigação empírica desenvolvida a partir de uma metodologia qualitativa específica para o estudo de comunidades online, a netnografia. Os métodos de recolha de dados adotados são: observação participante, auto-netnografia, entrevista e análise de conteúdo dos perfis dos utilizadores entrevistados. Os dados são analisados seguindo uma abordagem indutiva. A principal hipótese deste estudo centra-se na premissa que se o Second Life é um mundo virtual que está a ser coproduzido pela Linden Lab e pelos utilizadores, é provável que o envolvimento dos residentes com a realidade virtual resulte na criação de um sistema de representação re-mediado. Partindo desta hipótese, os objetivos principais desta investigação são confirmar se de facto os mundos virtuais estão a ser usados para representar e re-mediar o espaço social, e perceber que efeito isto tem nos jogadores. Uma das principais conclusões retiradas prende-se com o facto de os utilizadores estarem a tirar partido deste mundo virtual para renegociarem os modelos socioculturais que informam as suas ‘primeiras vidas’. Após a análise da relação que os utilizadores estabelecem com o espaço virtual, com os seus próprios avatares e entre si, concluiu-se que são três as principais narrativas culturais que estão a resultar das experiências vividas pelos residentes deste mundo virtual. As primeiras intrinsecamente relacionadas com a organização geográfica da vida humana – narrativas de espaço; as segundas, com a necessidade de nos compreendermos a nós mesmos, narrativas identitárias; e as terceiras, com o facto de os seres humanos serem na sua essência seres sociais, narrativas resultantes da interação social com outros residentes. A ‘re-mediação’ de narrativas culturais dentro de um ambiente online, anónimo e flexível evidencia a necessidade que os seres humanos têm de reconhecer os espaços sociais que frequentam, de modo a envolverem-se e atribuírem significado às experiências digitais vividas.Over the past decade online games and social platforms became very popular and contributed to the internet development. The massive multiplayer online games have conquered a high number of users. The locus of these games is virtual reality, and the main goal is the recreation of a new world. Second Life is one of these games, a tridimensional social platform which counts with a high number of users – around 31 million registered users. It was developed by Linden Lab and it assembles the main characteristics of a virtual worlds: it is a tridimensional digital setting where users from all over the world represented by avatars interact in real time, and develop diversified social networks. One of its main characteristics is the prevalence of prodused content – 99 per cent of the content existing in-world was created by residents. Players, designated residents, are not only contributing to the space construction, but also to the social development of this virtual world. Apart from this, there are four more characteristics that make this multiuser environment interesting as an object of study: all the avatars existent in-world are playing characters controlled by human beings in real time; the recognition of intellectual property rights; the existence of a micro-currency – the Linden Dollar; and all the players have access to simple building tools, and to the Linden Scripting Language, which are essential to create objects. Second Life is a collaborative and participative space that, despite being a game, offers its users a very different experience from that lived within traditional video games. Because it is a sandbox game players are able to establish a different kind of relationship with the platform, once they can contribute to the different dimensions of the life in-world. Due to its intrinsic characteristics, this virtual world has caught the attention of researchers from several areas that showed interest in understanding the impact this virtual world may have in social interaction, education, economy, law and creative industries. Notwithstanding, considering that ‘space’ is a key element in the Humanities, and one of the privileged areas by the European Science Foundation for the research in Social Sciences and Humanities, it is necessary to better understand how this digital space is being developed, and which cultural narratives are shaping it. Since Second Life reflects the relevance of virtual worlds to online interaction, it is essential to comprehend the impact that the ‘virtualization’ of social relationships may have for interpersonal interaction, and for the emergence of a new type of ‘imagined communities’. The present research is centered on Second Life and looks forward to understand how this new interaction space could be contributing to the emergence of a new social dimension. A dimension resulting from the possibilities offered by a technology platform only available through the internet, combined with the creative potential of its users. In order to contribute to a better understanding of the sociocultural potential of this virtual world, this study is grounded on an empirical research based on a specific qualitative methodology for studying online communities, the netnography. The methods adopted for data collection are: participant observation, auto-netnography, interview, and content analysis of the interviewees’ profiles. The data collected is analyzed through an inductive approach. The main hypothesis framing this research is the premise that if Second Life is a virtual world that is being prodused by its residents, it is probable that users’ involvement with the virtual reality would result in the creation of a remediated system of representation. Based on this hypothesis, the main goals then are to confirm if virtual worlds are indeed representing and remediating social space, and to understand the effect this has on players. One of the main conclusions reached is that the users are taking advantage of the affordances of this virtual world to renegotiate the sociocultural models that frame their first lives. Through the analysis of the relationship users are establishing with the virtual space, with their own avatars, and with each other, it is concluded that there are three main cultural narratives emerging from the in-world experience lived by the residents. The first intrinsically related with the geographical organization of human life – spatial narratives; the second, with the need to make sense of oneself – narratives of identity; and the third, with the fact that humans are social beings in essence – social interaction narratives resulting from the interaction with other residents. The remediation of cultural narratives into an online, anonymous, and flexible environment evinces the need humans have for recognizable social spaces in order to be able to get involved and attribute meaning to the lived digital experiences

New Perspectives on Audience Activity: ‘Prosumption’ and Media Activism as Audience Practices

Until relatively recently, the subject of social relationships, constituted in and through audience practices, has been a minor part of audience research studies. This chapter explores how social relationships and forms of audience agency change and / or evolve, through the usage of both traditional and ‘new’ media. In a media environment where traditional and new media worlds collide, the potential of audience practices to rework, not only media-audience relationships, but also wider social relationships, is now an important research theme. Two key examples of mediated relationships between social actors in conditions brought about through transformations in media culture are considered. We look at the evolution of audience ‘prosumption’ or ‘produsage’ (Bruns 2007), as well as at audience ‘activism’ (de Jong, Shaw and Stammers 2005). These examples are identified as illustrating new dynamics of social interaction, which may have the potential to contribute to larger, integrative social networks that transcend the existing boundaries of the traditional concept of audience. Against the background of traditional approaches to social relationships in the context of audience studies, we examine in both case studies the respective roles of the technologies, the social actors and the emergent social relationships concerned

Small acts of audience engagement interrupting content flows

Chapter in Report; This report has been produced by the CEDAR network which was funded by the Arts and Humanities Research Council, to run between 2015-2018

Design Thinking as Heterogeneous Engineering: Emerging Design Methods in Meme Warfare

The shift of production of material artefacts to digital and online making has been greatly disruptive to material culture. Design has typically concerned itself with studying material cultures in order to develop a better understanding of the ways people go about shaping the world around them. This thesis contributes to this space by looking at an emerging form of artefact generation in digital and online making, namely, visual communication design in online information warfare. Developing understanding of participation in this space reveals possible trajectory of working with material culture as it increasingly becomes digital and online. Marshall McLuhan wrote in 1970 that “World War 3 is a guerrilla information war with no division between military and civilian participation” (p. 66), anticipating ubiquitous symmetrical capacity of users as both producers and consumers of information through communication technology. This space has emerged as our digital and online environment, and prominent in this environment are images with characteristics of visual communication design. It appears that the trajectory of visual communication design from the late 19t h century is moving toward ubiquitous making and exchanging of visual communication, as anyone with a smartphone can make an internet meme with worldwide reach and influence

Humiliation and the affective obligation of the social: Putting the social back into social media

This paper examines the nature of the bond, contract, or trust that animates ‘the social’ in social media. Drawing on my research into the affective and discursive structure of humiliation, this examination is based on the premise that this bond is at stake in the reanimation of the social by social media: it is this bond that humiliation breaks. But humiliation too makes the social anew, in its threat and its consequences. The patterning of humiliation as an affective cluster not only results from but underpins many of the social media contexts we encounter. This means that a deeper understanding of the social in social media must realise both the affective nature of social bonds as well as the structures of identity from which these bonds stem. The paper therefore revises our conceptualisation of this bond in social and cultural theory given the specific ways in which social media mediate affect, as well as anticipates the technological determinism we risk in the disciplinary trend towards the study of data and the algorithm. By ‘putting the social back into social media,’ we must grapple with the role of the social articulation of algorithmic cultures in changes to the cultural politics of identity