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Creativity 2.0 I dentity &  C ommunity  N arratives and C reativity  in the age of Internet re-mediation Presenting to EBSP Spring 2010 class Sofia Gkiousou –  www.digital-era.org for Birkbeck, University of London
Cyberspace & Metaverse Cyberspace.  A consensual hallucination William Gibson - Neuromancer Hiro is approaching the Street. It is the Broadway, the Champs Elysees of the  Metaverse.  It does not really exist. But right now, millions of people are walking up and down it.  Neal Stephenson- Snow Crash
What space? “ a single world, having a unitary framework of  experience  (for instance, in respect of basic axes of time and place), yet at the same time one which creates new forms of  fragmentation  and  dispersal .” Anthony Giddens, Modernity and Self-Identity ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The remediated space ,[object Object],[object Object],[object Object],[object Object],[object Object],D. Bolter & R. Grusin - Remediation
The time for participation & creativity? ,[object Object],[object Object],[object Object],…  many hopes have always been focused on the conversion of consumers into producers of means. For  Guy Debord , to cite one example, there was no possibility of freedom in the use of time unless one possessed modern instruments for constructing everyday life. Only through their use, he said, could one progress 'from a utopian revolutionary art to an experiential revolutionary art' as quoted in  'Web 2.0' as a new context for artistic practices Juan Martin Prada, University of Cádiz, Spain
Online activities Source : Grunwald Associates LLC as quoted in NSBA,  Creating & Connecting//Research and Guidelines on Online Social - and Educational - Networking “ Students are hardly passive couch potatoes online. Beyond basic communications, many students engage in  highly creative activities  on social networking sites — and a sizeable proportion of them are adventurous nonconformists who set the pace for their peers.” NSBA, 2007
Participation & networks More people than ever can  participate  in culture, contributing their ideas, views, information. The web allows them not just to publish but to share and connect, to collaborate and when the conditions are right, to  create ,  together , at scale. Charles Leadbeater, We Think Commons-based peer production Collaborative efforts (e.g. Wikipedia) Networked information economy  "system of production, distribution, and consumption of information  goods characterized by decentralized individual action carried out  through widely distributed, nonmarket means that do not depend on  market strategies.”  Yochai Benkler – The Wealth of Networks TRUST – REPUTATION - POWER
The conversation Brian Solis – The Conversation Prism
Dominant issues in the literature Identity construction Community cohesion and dynamics Collaboration Learning  Creativity  Privacy IP & copyright (Creative Commons and alternative approaches) Monetization
Places & Spaces  MMORPGs Virtual Worlds
Remember Remediation?
OMG! They killed Kenny!
 
Identity & Community  Constructing an identity  The features of each service (primary – secondary)  Does the community shape the identity? The performativity of the self (Goffman)  Media Imagery (Debord) when users create, they  discuss  and  share  their creations  learning  from each other’s experience C. Ondrejka, Escaping the Gilded Cage
Creativity Highly customisable avatars – identity constructions Emotional involvement (wars, battles etc.) Social relationships  Trade and promotion  Machinima and mashups/ remixes  Formation of groups via common creations (see Odrejka)
MMORPGs and SL
The process of socialisation Circulating and Sharing reflects social relationships Degrees of “publicness”  Publicly Private  behaviour (makers’ identities revealed) Privately Public  behaviour (limiting access to makers’ identity) Patricia G. Lange Publicly Private and Privately Public
The three questions Identity & Community   Narratives Learning & Creativity
Suggested Bibliography  ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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Creativity 2.0

  • 1. Creativity 2.0 I dentity & C ommunity N arratives and C reativity in the age of Internet re-mediation Presenting to EBSP Spring 2010 class Sofia Gkiousou – www.digital-era.org for Birkbeck, University of London
  • 2. Cyberspace & Metaverse Cyberspace. A consensual hallucination William Gibson - Neuromancer Hiro is approaching the Street. It is the Broadway, the Champs Elysees of the Metaverse. It does not really exist. But right now, millions of people are walking up and down it. Neal Stephenson- Snow Crash
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  • 6. Online activities Source : Grunwald Associates LLC as quoted in NSBA, Creating & Connecting//Research and Guidelines on Online Social - and Educational - Networking “ Students are hardly passive couch potatoes online. Beyond basic communications, many students engage in highly creative activities on social networking sites — and a sizeable proportion of them are adventurous nonconformists who set the pace for their peers.” NSBA, 2007
  • 7. Participation & networks More people than ever can participate in culture, contributing their ideas, views, information. The web allows them not just to publish but to share and connect, to collaborate and when the conditions are right, to create , together , at scale. Charles Leadbeater, We Think Commons-based peer production Collaborative efforts (e.g. Wikipedia) Networked information economy "system of production, distribution, and consumption of information goods characterized by decentralized individual action carried out through widely distributed, nonmarket means that do not depend on market strategies.” Yochai Benkler – The Wealth of Networks TRUST – REPUTATION - POWER
  • 8. The conversation Brian Solis – The Conversation Prism
  • 9. Dominant issues in the literature Identity construction Community cohesion and dynamics Collaboration Learning Creativity Privacy IP & copyright (Creative Commons and alternative approaches) Monetization
  • 10. Places & Spaces MMORPGs Virtual Worlds
  • 13.  
  • 14. Identity & Community Constructing an identity The features of each service (primary – secondary) Does the community shape the identity? The performativity of the self (Goffman) Media Imagery (Debord) when users create, they discuss and share their creations learning from each other’s experience C. Ondrejka, Escaping the Gilded Cage
  • 15. Creativity Highly customisable avatars – identity constructions Emotional involvement (wars, battles etc.) Social relationships Trade and promotion Machinima and mashups/ remixes Formation of groups via common creations (see Odrejka)
  • 17. The process of socialisation Circulating and Sharing reflects social relationships Degrees of “publicness” Publicly Private behaviour (makers’ identities revealed) Privately Public behaviour (limiting access to makers’ identity) Patricia G. Lange Publicly Private and Privately Public
  • 18. The three questions Identity & Community Narratives Learning & Creativity
  • 19.

Notas do Editor

  1. Photo: Marionettes (http://www.flickr.com/photos/harry_huffman/2874394325/) on flickr uploaded by Harry Huffman(http://www.flickr.com/photos/harry_huffman/) - model Dolly Voom (http://www.flickr.com/photos/dollyvoom/)
  2. Anthony Giddens, Modernity and Self-Identity – Self and Society in the Late Modern Age (Cambridge: Polity, 1991), pp. 4-5.
  3. new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio
  4. Andrew Keen, The Cult of the amateur: How Today's Internet is Killing Our Culture http://en.wikipedia.org/wiki/The_Cult_of_the_Amateur 'Web 2.0' as a new context for artistic practices http://journal.fibreculture.org/issue14/issue14_prada.html
  5. http://www.nsba.org/site/docs/41400/41340.pdf
  6. Charles Leadbeater we think http://www.charlesleadbeater.net/orange-buttons/we-think.aspx See Benkler, Yochai (2006).  The Wealth of Networks: How Social Production Transforms Markets and Freedom . New Haven, Conn: Yale University Press
  7. http://www.flickr.com/photos/briansolis/3398531745/sizes/m/
  8. Ondrejka, C. (2004b), Escaping the Gilded Cage: User Created content and Building the Metaverse, New York School Law Review, Vol. 81, http://www.nyls.edu/pdfs/v49n1p81-101.pdf (last accessed 25 August 2008)
  9. Patricia G. Lange Publicly Private and Privately Public: Social Networking on YouTube http://jcmc.indiana.edu/vol13/issue1/lange.html?ref=SaglikAlani.Com
  10. Identity & Community Identity constructed depending on the tool used and participation in the community affecting the nature of information shared and identity formation. Narratives Narratives paying homage to other/ previous media, remix of existing products, creation of new narratives. Also, development of narratives within the constraints of the tool (existing or implied) and transceding the tool (eg. mashups of WoW footage with songs, machinima etc) Learning & Creativity Exposure to tools and community develops knowledge, knowledge shared freely within the community (how – to’s, FAQs, blogs, forums, discussions), ability developing over time. Creativity recognised and rewarded (going viral)