Social Media Archeology And Poetics

First person accounts by pioneers in the field, classic essays, and new scholarship document the collaborative and creative practices of early social media. Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. And it invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors Madeline Gonzalez Allen, James Blustein, Hank Bull, Annick Bureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. Woolley

First person accounts by pioneers in the field, classic essays, and new scholarship document the collaborative and creative practices of early social media. Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. And it invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors Madeline Gonzalez Allen, James Blustein, Hank Bull, Annick Bureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. Woolley

Robson Crim is housed in Robson Hall, one of Canada's oldest law schools. Robson Crim has transformed into a Canada wide research hub in criminal law, with blog contributions from coast to coast, and from outside of this nation's borders. With over 30 academic peer collaborators at Canada's top law schools, Robson Crim is bringing leading criminal law research and writing to the reader. We also annually publish a special edition criminal law volume of the Manitoba Law Journal, providing a chance for authors to enter the peer reviewed fray. The Journal has ranked in the top 0.1 percent on Academia.edu and is widely used. This issue has articles from a variety of contributing authors.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

Building on the measures included in the original 1994 volume and subsequent 2009 volume, Communication Research Measures III: A Sourcebook extends its coverage of measurement issues and trends across the entire communication discipline. Volume III features entirely new content and offers an assessment of new measures in mass, interpersonal, instructional, group, organizational, family, health, and intercultural communication and highlights work in emergent subdisciplines in communication, including social media and new communication technologies, sports communication, and public relations. The “best of the best” from 2009 through today, the profiled research measures in Volume III serve as models for future scale development and constitute the main tools that researchers can use for self-administered measurement of people’s attitudes, conceptions of themselves, and perceptions of others. This book is ideal for undergraduate and graduate courses that emphasize quantitative research methods, measurement, and/or survey design across communication studies disciplines.

Twenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a "reference book" to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be stranded on a desert isle.

This book addresses the application of computing to cultural heritage and the discipline of Digital Humanities that formed around it. Digital Humanities research is transforming how the Human record can be transmitted, shaped, understood, questioned and imagined and it has been ongoing for more than 70 years. However, we have no comprehensive histories of its research trajectory or its disciplinary development. The authors make a first contribution towards remedying this by uncovering, documenting, and analysing a number of the social, intellectual and creative processes that helped to shape this research from the 1950s until the present day. By taking an oral history approach, this book explores questions like, among others, researchers’ earliest memories of encountering computers and the factors that subsequently prompted them to use the computer in Humanities research. Computation and the Humanities will be an essential read for cultural and computing historians, digital humanists and those interested in developments like the digitisation of cultural heritage and artefacts. This book is open access under a CC BY-NC 2.5 license

The evidential role of matter—when media records trace evidence of violence—explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica, Kosovo, used as war crimes evidence against Slobodan Milošević; the telephonic transmission of an iconic photograph of a South Vietnamese girl fleeing an accidental napalm attack; radioactive contamination discovered in Canada's coastal waters five years after the accident at Fukushima Daiichi; and the ecological media or “disaster film” produced by the Deep Water Horizon oil spill in the Gulf of Mexico. Each highlights the degree to which a rearrangement of matter exposes the contingency of witnessing, raising questions about what can be known in relationship to that which is seen or sensed, about who or what is able to bestow meaning onto things, and about whose stories will be heeded or dismissed. An artist-researcher, Schuppli offers an analysis that merges her creative sensibility with a forensic imagination rich in technical detail. Her goal is to relink the material world and its affordances with the aesthetic, the juridical, and the political.