Vaunting the independent amateur: Scientific American and the representation of lay scientists

This paper traces how media representations encouraged enthusiasts, youth and skilled volunteers to participate actively in science and technology during the twentieth century. It assesses how distinctive discourses about scientific amateurs positioned them with respect to professionals in shifting political and cultural environments. In particular, the account assesses the seminal role of a periodical, Scientific American magazine, in shaping and championing an enduring vision of autonomous scientific enthusiasms. Between the 1920s and 1970s, editors Albert G. Ingalls and Clair L. Stong shepherded generations of adult ‘amateur scientists’. Their columns and books popularized a vision of independent nonprofessional research that celebrated the frugal ingenuity and skills of inveterate tinkerers. Some of these attributes have found more recent expression in present-day ‘maker culture’. The topic consequently is relevant to the historiography of scientific practice, science popularization and science education. Its focus on independent nonprofessionals highlights political dimensions of agency and autonomy that have often been implicit for such historical (and contemporary) actors. The paper argues that the Scientific American template of adult scientific amateurism contrasted with other representations: those promoted by earlier periodicals and by a science education organization, Science Service, and by the national demands for recruiting scientific labour during and after the Second World War. The evidence indicates that advocates of the alternative models had distinctive goals and adapted their narrative tactics to reach their intended audiences, which typically were conceived as young persons requiring instruction or mentoring. By contrast, the monthly Scientific American columns established a long-lived and stable image of the independent lay scientist

Introduction: looking beyond the walls

In its consideration of the remarkable extent and variety of non-university researchers, this book takes a broader view of ‘knowledge’ and ‘research’ than in the many hot debates about today’s knowledge society, ‘learning age’, or organisation of research. It goes beyond the commonly held image of ‘knowledge’ as something produced and owned by the full-time experts to take a look at those engaged in active knowledge building outside the university walls

Spartan Daily, January 24, 1949

Volume 37, Issue 65https://scholarworks.sjsu.edu/spartandaily/11179/thumbnail.jp

Social network market: Storytelling on a web 2.0 original literature site

This article looks at a Chinese Web 2.0 original literature site, Qidian, in order to show the coevolution of market and non-market initiatives. The analytic framework of social network markets (Potts et al., 2008) is employed to analyse the motivations of publishing original literature works online and to understand the support mechanisms of the site, which encourage readers’ willingness to pay for user-generated content. The co-existence of socio-cultural and commercial economies and their impact on the successful business model of the site are illustrated in this case. This article extends the concept of social network markets by proposing the existence of a ripple effect of social network markets through convergence between PC and mobile internet, traditional and internet publishing, and between publishing and other cultural industries. It also examines the side effects of social network markets, and the role of market and non-market strategies in addressing the issues

Images for Iconoclasts: Images of Confucius in the Cultural Revolution

Confucius died and was buried in 479 B.C.E., and he was never seen again. Or so one would think. “You may forget me as I once was,” Confucius reminds us in the Zhuangzi, but there is something unforgettable about me that will still live on. Confucius’s physical frame was concealed from sight below ground, but his body and face were not forgotten either by his followers or his detractors, each of whom remembered him (or remembered him) in different ways. People created semblances of Confucius that reflected their own visions of the past, and constructions of his body took on many lives of their own over the succeeding centuries. [excerpt

Information-Age Populism: Higher Education as a Civic Learning Organization

Viewing higher education as an environment "ripe for change," Harry Boyte makes the case for colleges and universities to forsake their traditional bastions of cloistered scholarship to become "civic learning" organizations. Many faculty members are willing and able to pursue their interests in the public relevance of teaching and research. What is needed to undertake the democratization of the production and diffusion of knowledge, Boyte says in this report from the Council on Public Policy Education, is to stress the need for disciplines to interact across porous boundaries with the wider world

Mozart and l'impresario

In May 1856, less than a year after opening, Jacques Offenbach’s Théâtre des Bouffes-Parisiens mounted a production of Mozart’s Der Schauspieldirektor entitled L’Impresario. Originally written in 1786 as a play with music consisting of no more than an overture and four numbers, Der Schauspieldirektor posed problems for would-be performers throughout the nineteenth century. Attempts to turn it into a one-act comic opera included adding numbers from Cimarosa’s L’impresario in angustie (1791), and from operas by Dittersdorf and others (1814). Louis Schneider’s solution for Berlin (1845) lengthened the opera by adding in songs and romances from elsewhere in Mozart’s own output. This served as the basis for Offenbach’s version a decade later, when Léon Battu and Ludovic Halévy wrote a completely new libretto to turn the Singspiel into an opéra bouffe for Offenbach’s troupe. L’Impresario enhanced the status of the Théâtre des Bouffes-Parisiens when previously its activities had barely been considered seriously by the press, and also contributed significantly to the enshrinement of Mozart in Paris in his centenary year. Offenbach’s cast, selected from recent Conservatoire graduates, avoided the comic duo who had ensured the troupe’s earlier success in an attempt to sustain an image of the work to equal that of Don Giovanni or Le nozze di Figaro. In complicating the relationship between composer and entrepreneur both on and off the stage, L’Impresario brought Mozart into Offenbach’s theatrical world and invited operatic collusion between what was emerging as high and low art: the reception of Mozart and operetta

Crowdsourcing as a way to access external knowledge for innovation

This paper focuses on “crowdsourcing” as a significant trend in the new paradigm of open innovation (Chesbrough 2006; Chesbrough & Appleyard 2007). Crowdsourcing conveys the idea of opening the R&D processes to “the crowd” through a web 2.0 infrastructure. Based on two cases studies of crowdsourcing webstartups (Wilogo and CrowdSpirit), the paper aims to build a framework to characterize and interpret the tension between value creation by a community and value capture by a private economic actor. Contributing to the discussions on “hybrid organizational forms” in organizational studies (Bruce & Jordan 2007), the analysis examines how theses new models combine various forms of relationships and exchanges (market or non market). It describes how crowdsourcing conveys new patterns of control, incentives and co-ordination mechanisms.communauté ; crowdsourcing ; innovation ; formes organisationnelles hybrides ; plateforme ; web 2.0

Spartan Daily, April 20, 1942

Volume 30, Issue 119https://scholarworks.sjsu.edu/spartandaily/3439/thumbnail.jp