19 research outputs found
A Peer-reviewed Newspaper About_ Datafied Research
An examination of the implications of datafication for research: to investigate and propose actions that push against the limits of todayâs pervasive quantification of life, work, and play.
Publication resulting from research workshop at School of Creative Media, City University of Hong Kong, organised in collaboration with School of Creative Media, City University of Hong Kong, and transmediale festival of art and digital culture, Berlin
Serious leisure in the digital world: exploring the information behaviour of fan communities
This research investigates the information behaviour of cult media fan communities on the internet, using three novel methods which have not previously been applied to this domain. Firstly, a review, analysis and synthesis of the literature related to fan information behaviour, both within the disciplines of LIS and fan studies, revealed unique aspects of fan information behaviour, particularly in regards to produsage, copyright, and creativity. The findings from this literature analysis were subsequently investigated further using the Delphi method and tag analysis. A new Delphi variant â the Serious Leisure Delphi â was developed through this research. The Delphi study found that participants expressed the greatest levels of consensus on statements on fan behaviour that were related to information behaviour and information-related issues. Tag analysis was used in a novel way, as a tool to examine information behaviour. This found that fans have developed a highly granular classification system for fanworks, and that on one particular repository a âcurated folksonomyâ was being used with great success. Fans also use tags for a variety of reasons, including communicating with one another, and writing meta-commentary on their posts. The research found that fans have unique information behaviours related to classification, copyright, entrepreneurship, produsage, mentorship and publishing. In the words of Delphi participants â âbeing in fandom means being in a knowledge space,â and âfandom is a huge information hub just by existingâ. From these findings a model of fan information behaviour has been developed, which could be further tested in future research
Recommended from our members
Serious Leisure In The Digital World: Exploring The Information Behaviour Of Fan Communities
This research investigates the information behaviour of cult media fan communities on the internet, using three novel methods which have not previously been applied to this domain. Firstly, a review, analysis and synthesis of the literature related to fan information behaviour, both within the disciplines of LIS and fan studies, revealed unique aspects of fan information behaviour, particularly in regards to produsage, copyright, and creativity. The findings from this literature analysis were subsequently investigated further using the Delphi method and tag analysis. A new Delphi variant â the Serious Leisure Delphi â was developed through this research. The Delphi study found that participants expressed the greatest levels of consensus on statements on fan behaviour that were related to information behaviour and information-related issues. Tag analysis was used in a novel way, as a tool to examine information behaviour. This found that fans have developed a highly granular classification system for fanworks, and that on one particular repository a âcurated folksonomyâ was being used with great success. Fans also use tags for a variety of reasons, including communicating with one another, and writing meta-commentary on their posts. The research found that fans have unique information behaviours related to classification, copyright, entrepreneurship, produsage, mentorship and publishing. In the words of Delphi participants â âbeing in fandom means being in a knowledge space,â and âfandom is a huge information hub just by existingâ. From these findings a model of fan information behaviour has been developed, which could be further tested in future research
Recommended from our members
EVA London 2022: Electronic Visualisation and the Arts
The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdomâs most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas.
The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short âposterâ papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings.
This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference
How do women say âIâ online?
Creative Submission:
My digital narrative, Seed, seeks to re-work conventional notions of âcharacterâ and âplotâ in fiction, via a the polyphonic first person narrative of an unnamed 1980s Ophelia who is searching for ways to represent unspoken and unspeakable experiences of girlhood in the late twentieth century. Coming of age in 1988, a year in which misinformation about AIDS, Chernobyl and CJD peaked, Seedâs narrator is haunted by fears of infection, aware that bodily experience (breathing, eating, sex) could lead to illness or even death. Living in isolation in the raw industrial countryside outside a new town, the poverty of narratives available to her render Seedâs narrator, like Shakespeare's heroine, multi-vocal with borrowed voices. In her case these are garnered from fashion magazines, pop songs, media reports, and the words Ophelia speaks in Hamletâbut, as Gertrude says of Ophelia, she is âincapable of her own distress".
Presented as a digital app, seed-story.com, (with later iterations as a multi-vocal performance, and a print book), Seed grows into a rhizomatic structure whichâaware of its experimental forbears including Julio Cortazar, B. S. Johnson and Shelley Jacksonâcan be read via a number of different paths. Time and space are collapsed and expanded into a nonhierarchical, explorable reading âlandscapeâ, decentring ideas of 'author' and âcharacterâ via a patchworked narrative inspired by post-Lacanian feminist and queer writing on subjectivity (especially Irigaray and Wittig). In keeping with its examination of restriction, the script of Seed is tied by a hidden linguistic constraint.
Critical Submission:
My critical thesis, /A USER MANIFESTO is a polyvocal investigation of the constraints and opportunities of constructing a female persona on the digital screen, for those constrained by aspects of female identity offline. Particularly concerned with the experiences of motherhood and gendered precarity in the arts and gig economy, I draw especially on the work of Berlant, Butler and Ngai to examine the poetics of commodifiable (female) gender-presentation in creative acts of self-identification online, taking in (amongst other iterations of online subjectivity) the digital speech act, the gif, the meme, the 'dead' site, and the blog-novel. My work draws direct comparisons between hierarchical structures in programming languages and vocabulary (chiefly Javascript) and digital Boolean logic, and offline constructions of the âfemaleâ. It asks questions about the nature of digital writing and reading for women via mimetic strategies of identification and exemplarity. Proceeding by example, it takes the form of moral vignettes, thought experiments, diary entries and coded scripts, both digital and social, taking into account the history of cyber-feminist thought and creativity to create a manifesto for those who use, and are used by, digital femininity
SEED <woman sitting in front of a screen>/<girl online>A USER MANIFESTO
Creative Submission:
My digital narrative, Seed, seeks to re-work conventional notions of âcharacterâ and âplotâ in fiction, via a the polyphonic first person narrative of an unnamed 1980s Ophelia who is searching for ways to represent unspoken and unspeakable experiences of girlhood in the late twentieth century. Coming of age in 1988, a year in which misinformation about AIDS, Chernobyl and CJD peaked, Seedâs narrator is haunted by fears of infection, aware that bodily experience (breathing, eating, sex) could lead to illness or even death. Living in isolation in the raw industrial countryside outside a new town, the poverty of narratives available to her render Seedâs narrator, like Shakespeare's heroine, multi-vocal with borrowed voices. In her case these are garnered from fashion magazines, pop songs, media reports, and the words Ophelia speaks in Hamletâbut, as Gertrude says of Ophelia, she is âincapable of her own distress".
Presented as a digital app, seed-story.com, (with later iterations as a multi-vocal performance, and a print book), Seed grows into a rhizomatic structure whichâaware of its experimental forbears including Julio Cortazar, B. S. Johnson and Shelley Jacksonâcan be read via a number of different paths. Time and space are collapsed and expanded into a non-hierarchical, explorable reading âlandscapeâ, decentring ideas of 'author' and âcharacterâ via a patchworked narrative inspired by post-Lacanian feminist and queer writing on subjectivity (especially Irigaray and Wittig). In keeping with its examination of restriction, the script of Seed is tied by a hidden linguistic constraint.
Critical Submission:
My critical thesis, /A USER MANIFESTO is a polyvocal investigation of the constraints and opportunities of constructing a female persona on the digital screen, for those constrained by aspects of female identity offline. Particularly concerned with the experiences of motherhood and gendered precarity in the arts and gig economy, I draw especially on the work of Berlant, Butler and Ngai to examine the poetics of commodifiable (female) gender-presentation in creative acts of self-identification online, taking in (amongst other iterations of online subjectivity) the digital speech act, the gif, the meme, the 'dead' site, and the blog-novel. My work draws direct comparisons between hierarchical structures in programming languages and vocabulary (chiefly Javascript) and digital Boolean logic, and offline constructions of the âfemaleâ. It asks questions about the nature of digital writing and reading for women via mimetic strategies of identification and exemplarity. Proceeding by example, it takes the form of moral vignettes, thought experiments, diary entries and coded scripts, both digital and social, taking into account the history of cyber-feminist thought and creativity to create a manifesto for those who use, and are used by, digital femininity