1,720,981 research outputs found
Geert Lovink, Ossessioni collettive. Critica ai social media
No full text«Una volta internet cambiava il mondo, oggi il mondo cambia internet». Così si apre Ossessioni Collettive, il cui titolo originale, Network without a cause (Polity Press, 2012), è più convincente di quello scelto per l’edizione italiana, che sembra fuorviare il lettore rispetto al ben più articolato ragionamento proposto dall’autore. Il saggio si inserisce all’interno di una serie iniziata con Dark Fiber (MIT Press, 2002), continuata con Uncanny Networks: Dialogues With the Vir- tual Intelligentsia (MIT Press, 2003) e Zero Comments (Routledge, 2007), tra- dotto con successo in italiano da Bruno Mondadori con il sottotitolo Teoria Criti- ca di Internet. Per leggere Lovink bisogna fare una premessa: l’autore chiede di non separare mai, nella ricerca come nel dibattito, internet dalla società, ma di tenerli assieme per osservare e descrivere come i due universi siano espressioni dello stesso volto, come dialoghino e si plasmino reciprocamente
Geert Lovink. Critica del monopolio del tempo reale.
No full textIntervista a Geert Lovink, autore di Ossessioni Collettiv
THE LEGACY OF GRASSROOTS MOVEMENTS IN A CREATIVE AND SMART CITY. FROM INDIGNADOS TO THE COMMUNITIES OF CREATIVES AND INNOVATORS
No full textAccording to Sassen 'the significance of a city is a setting for engendering new types of citizen practices and new types of incompletely formalized subjects' (2006:315). In this paper we focus on the links between social movements (indignados) and creative communities to understand 1) how the latter has been influenced and help position themselves within an scenario of crisis, precariousness in a context of smart and creative strategies and 2) the activism legacy in terms of networks, conflicts, cooperation and collaboration among creative communities daily life and work.
In 2014 Trias, mayor of Barcelona, took part in Davos World Economic Forum, speaking in a panel entitled: Re-imagining employment. Labour market, according to Trias, could attract both investments and talents through 'helping those sectors of the population who are worst affected by the crisis, such as young people and the long-term unemployed'. Barcelona aims 'to be recognised worldwide as a city of culture, knowledge, creativity, innovation and welfare, adding that new technologies could help to achieve this goal'. Barcelona, he explained, 'was a average-sized city with a diversified economy, with powerful sectors such as tourism, which was nevertheless launching new strategic sectors, particularly those linked to new mobile technologies and research.'
This message answers to the requirements of the capitalistic global world attending the meeting in Davos but it contrasts with the first point of the European strategy about culture, the image of Barcelona as a model of social urbanism and, above all, the city claimed by its citizens during the indignados movement. Indeed in the Communication from the commission to the European Parliament, the Council, the European Economic and Social Committee and the Committee of the Regions (2012) - which outlines the strategies for the Horizon 2020 - it had been claimed that
At the heart of our social fabric, culture shapes our identities, aspirations and relations to others and the world. It also shapes the places and landscapes where we live, the lifestyles we develop. Heritage, visual and performing arts, cinema, music, publishing, fashion or design manifest themselves strongly in daily life but the contribution that cultural and creative sectors can bring to social and economic development in the EU is still not fully recognised.
In a recent past Barcelona had already attracted talents and it still appeals to creative workers looking for the opportunity to express themselves. People working in art, design and architecture contributed to change both the urban landscape and the significance of a city working for years precariously but inspired by the 'credo that individuals actually have some power over their economic destinies' (Ross 2009). Most of this people are still based in Barcelona and they compose part of 'the precarious generation' that after the global economic crises promoted the grassroots movement worldwide known as the indignados.
Results of our observation and in depth interviews shows that the experience of participating in this movements shift a citizens perception of agents of change: they not perceive themselves as able to conflict individually but only supported by a community of peers or with a common goal. This need to participate in decision making and to collaborate or cooperate, instead of competing, is breaking out the cage of a 'smart and creative city' as a flagship model, wrapping a city-box that is empty in terms of meanings. Three experiences we focused on lean on this new sense of solidarity and a deep need of networking and sharing knowledge and skills: a collective of creatives living in the Poblenou, the Spanish union of architects and the group of Urban Beers. All these initiatives contribute to imagine and participate in the city discourse for the future differently but with some common traits. As Trias says in his speech in Davos this communities are effectively aimed 'to ensure welfare and quality of life of the people', and 'work to create opportunities for the future'
Exploring Italian Micro Web TVs: how high-Tech bricoleur redefine audiences?
No full textThe media landscape is undergoing radical changes, especially related to the process of digitalization and information circulation through the internet, which increases the number of web channels and the opportunity to access them using multiple devices, and decreases the expertise needed to produce them. In this new digital, multi-channel environment, radical innovation, diversification and media hybridization are revolutionizing television. For over fifty years the way that television is watched and produced has not changed significantly. Today the roles of producers and audiences have blurred because users are able to upload their contents independent of traditional intermediaries, and to create their own Web TV platforms in an inexpensive way. Claude Lévi Strauss in 1962 developed the concept of the bricoleur opposed to the concept of ingénieur. According to the author, the bricoleur is able to use any available tools stocked from previous experience in order to complete a project, even if these tools were not intended for the specific goal. Drusian and Riva (2010) have applied this concept to the digital context describing the features of a new communication actor: the bricoleur high-tech. In this paper, drawing on the concept of the high-tech bricoleur, we will investigate two different Italian Web Television projects, CrossingTv, a micro WebTV created in Bologna in 2006, and FEMI, the Italian federation of Micro web TVs created in 2008. These initiatives both require the bricoleur, but they differ with regard to aim and results. Through the exploration of these two case studies, this paper shows in which ways these Web TV experiences differ from traditional television, specifically, how these new TV platforms clouds the distinction between media producers and media consumers. Our findings highlight a paradigm shift in how television is produced: content is generated collaboratively through recursive feedback between producers and audiences. We conclude by outlining some future directions for the study of this medium
Exploring Italian Micro Web TVs: how high-Tech bricoleur redefine audiences?
Get PDFThe media landscape is undergoing radical changes, especially related to the process of digitalization and information circulation through the internet, which increases the number of web channels and the opportunity to access them using multiple devices, and decreases the expertise needed to produce them. In this new digital, multi-channel environment, radical innovation, diversification and media hybridization are revolutionizing television. For over fifty years the way that television is watched and produced has not changed significantly. Today the roles of producers and audiences have blurred because users are able to upload their contents independent of traditional intermediaries, and to create their own Web TV platforms in an inexpensive way. Claude Lévi Strauss in 1962 developed the concept of the bricoleur opposed to the concept of ingénieur. According to the author, the bricoleur is able to use any available tools stocked from previous experience in order to complete a project, even if these tools were not intended for the specific goal. Drusian and Riva (2010) have applied this concept to the digital context describing the features of a new communication actor: the bricoleur high-tech. In this paper, drawing on the concept of the high-tech bricoleur, we will investigate two different Italian Web Television projects, CrossingTv, a micro WebTV created in Bologna in 2006, and FEMI, the Italian federation of Micro web TVs created in 2008. These initiatives both require the bricoleur, but they differ with regard to aim and results. Through the exploration of these two case studies, this paper shows in which ways these Web TV experiences differ from traditional television, specifically, how these new TV platforms clouds the distinction between media producers and media consumers. Our findings highlight a paradigm shift in how television is produced: content is generated collaboratively through recursive feedback between producers and audiences. We conclude by outlining some future directions for the study of this medium
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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