New Media

Sprache: Deutsch
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Abstract:
In dieser Arbeit wird aufbauend auf wissenschaftlichen Untersuchungen ein Konzept für das
Kurzvideofestival You Graz World entwickelt, der Ablauf dokumentiert und evaluiert. Ziel ist
es zu untersuchen was für Bedingungen an die Etablierung eines Kurzvideofestivals auf den
Grazer Urban Screens gebunden sind, diese zu erfüllen und dadurch das Projekt erfolgreich
umzusetzen. Die Einwohner von Graz sollen eine Möglichkeit bekommen ihre künstlerischen
Arbeiten aber auch ihre Gedanken und Initiativen auf den Bildschirmen einem breiten Publikum zu präsentieren. Grazer bekommen durch das Festival die Möglichkeit die Bildschirme als ihre Austausch- und Meinungsplattform zu nutzen. Den Einwohnnern der Stadt Graz kann der Blick für ein neues Medium und seine Möglichkeiten geöffnet werden. Einem Medium zu dem alle Zugang haben und mit dem viele Grazer in Berührung kommen. Das Festival gliedert sich in die drei Rubriken You, für freie künstlerische Arbeiten, Graz für Videos die von und in Graz handeln und World für Videos mit globalen und interkulturellen Themen. Die Zuschauer sind gleichzeitig die Künstler und die Jury, die über die Gewinner abstimmt. You Graz World ist ein Projekt das versucht einen Mix aus Ästhetik und Diskurs zu entwickeln, den die Teilnehmer und Zuschauer selbst gestalten.
In this thesis a concept of the Short Video Festival You Graz World is developed referring to
scientific research. Moreover the progress is documented and evaluated. The aim is to examine the conditions which have to be met to implement a Short Video Festival on Graz’ Urban Screens. As the next step those conditions are tried to be met and hence the festival will be implemented successfully. The inhabitants of Graz will get the possibility to showcase their artistic work but also their thoughts and Initiatives on the screens to a broad public. The Festival encourages the people of Graz to use the Urban Screens as their communication platform. Thereby the public perception of the medium Public Screen and its possibilities can be increased. A medium everyone has access to and most people get in touch with.
The Festival is divided into the three categories You for free artistic works, Graz for videos with contents related to the city Graz and World, a category for videos which deal with global or intercultural topics. The audience is at the same time the artist and the jury of the festival which decides about the winners. You Graz World is a project which attempts to develop a mix between aesthetics and discourse, which is designed by the audience itself.

This essay narrates, from a creator-observation perspective, the production of two works of fiction, a book of short stories and a play, based on the principles and technologies of Commons-based peer production. This is potentially interesting from both the Commons-based peer production and the literary perspective. Even though both seem well-matched by their prima facie lack of profit orientation, Commons- based peer production case studies rarely deal with fiction, and regarding plays, artistic creativity is still mostly associated with one, maybe two authors. After tracing and analysing the Commons-based peer production phenomenon, the case studies show concretely the fate of the specific projects as well as how, nowadays, people can get involved in collaborative artistic projects inspired and catalysed by Commons-oriented principles and technologies.

Wikipedia has been hailed as one of the most prominent peer projects that led to the rise of the concept of peer governance. However, criticism has been levelled against Wikipedia’s mode of governance. This paper, using the Wikipedia case as a point of departure and building upon the conflict between inclusionists and deletionists, tries to identify and draw some conclusions on the problematic issue of peer governance.

parallel is the first of a series of explorations I am making using Google Earth and other imaging tools. It uses Google Earth to track along the 49th parallel, that is, the prairie border between Canada and the United States. It's about a few other parallels: parallel countries, parallel modes of imaging and imagining, parallels between political, technical, and visual territories. If you follow the border long enough, digital anomalies in the image become apparent; they have to do with when a given area came under the eye of a satellite, and at what resolution. These digital artefacts become landscapes in their own right, with their own boundaries, topography, areas of density and intensity. Something similar happens at the edges between satellite image tiles; their seams are rarely perfect, and we end up with one image blurred or spliced into another, contradictory image. The boundaries between these territories of image are especially visible along a political border like this. While they never equate to the border -- there's usually a displacement of some sort -- they do parallel it. In fact they're more visible than the border itself, which is otherwise realized mainly in agricultural boundaries. All of these anomalies in an ostensibly perfect map of the world invite interpretation, speculation, and imagination.
I developed parallel over about a year; it was projected at different stages at Culture Days Winnipeg (2012) RAW:Gallery of Architecture & Design (as part of the show Another Atlas, 2013), and Furtherfield Gallery, UK (as part of the show Movable Borders, 2013).
This version shows sixty-second clips from the complete piece, which runs the full length of the prairie border from the Rocky Mountains (it begins within a mountain) in the west to Lake of the Woods in the east, where the political border diverges from the 49th parallel in a sudden jog north. Sound comprises two superimposed tracks: Ambient Nothingness, by Hello Flowers, courtesy the Internet Archive, modified; Kibo (Japanese Experiment Module, International Space Station) Ambient Sound, courtesy Christopher Hadfield.

McLuhan (en McLuhan y Zingrone, 1998) afirma que son los artistas quienes pueden vérselas impunemente con la tecnología. Ellos reciben el impacto social de la creación de los nuevos medios e incluso llegan a percatarse, como visionarios, del porvenir que tendrán en su relación con la humanidad. El artista es un perito, un vidente, un ser humano conectado con los cambios de percepción que sufren los sentidos en las distintas épocas. Abre los ojos a las novedades y hace advertencias, porque su trabajo adiestra la percepción y el juicio como afirma el intelectual canadiense. Es un hombre antena o una antena de la carrera según el poeta norteamericano Ezra Pound (1970). Frente al ambiente creado por las nuevas tecnologías en todas las épocas y los cambios que proporcionan éstas en la vida de los seres humanos construye un anti ambiente; que es común a todos pero que la mayoría no logra ver pues están embotados debido a la atracción por las máquinas; por lo aquello que McLuhan ha llamado nuestras prolongaciones tecnológicas.

Media Studies and the recent “Materialist Turn” are two of the most widely reaching and revolutionary trends across the Humanities and Social Sciences. While media theory attunes us to the constructive role of media in the production of texts, contemporary new materialist theory enables us to broaden traditional conceptions of (human) agency to include inanimate objects and nonhuman material agents. Perhaps unexpectedly, these frameworks allow us return to an issue that many critics and theorists have long assumed to be permanently expelled from the field of contemporary literary studies: namely, the issue of authorship. How, for example, might the advent and continual innovation of digital technologies, as well as emerging forms of textuality and processes of collaborative production, yield new paradigms of authorship and authorial agency? Similarly, how might recent materialist discourses offer new conceptions of the agency of textual production?

The vehemence with which the concept of authorship is often denied within literary studies ultimately reveals the force that it still exerts and the threat it still poses to much current, seemingly settled opinion. This panel approaches notions of authorship and textual agency anew, by reconsidering not only the viability or impotence of these terms as we have inherited them, but more fundamentally, how these concepts might be re-theorized in order to describe emerging phenomena and approach problems facing contemporary critical work.

Recent data appear to demonstrate the weakening of the Arab newspapers versus strengthening of the digital media. However, this weakening is less extensive than the corresponding erosion of Western newspapers in their own markets. This study examines the question of how Arab newspapers see themselves. A content and discourse analysis of articles in seven newspapers of different characteristics and distribution zones indicates an ambivalent attitude towards the Arab newspaper: On the one hand, many articles and reports express a positive attitude towards the newspapers and a hostile attitude to the Internet, but, on the other hand, more than a quarter of the articles expressed a negative attitude towards the newspapers and most of the articles admitted that Arab newspapers are in crisis. Based on this finding, the reporters and editors of the Arab newspapers can be seen as an interpretive community, which structures its identity. The shared discourse that they produce around the topic of newspapers’ status is a marker of how they see themselves as journalists.

This essay addresses the issue of “visibility”, as one of the most important aspects of living in the convergent media environment. The main argument of this essay is to clarify the difference between “visibility” in surveillance of governments and counter-surveillance of people.
The essay is structured as follows: After a short description of visibility in the new era and its relationship with privacy, it is explained surveillance, counter-surveillance and finally their ties with visibility and the different aspects of visibility in these two areas.

התחקות שלי אחר מקורותיה של המיסיונריות הנוצרית וגילוי מקורותיה של הטלאוונגליזם.

כדי להתחיל להבין מאיפה טלאוונגליזם התפתח החלטתי שאני צריך למצוא את מקור האוונגליזם, שהובילה למקורותיו של המיסיון הנוצרי עוד בשלהי המאה הראשונה.  מפאולוס המשכתי דרך ימי הביניים והאינקוויזיציה ועד לימים אלו - ימים שהטלוויזיה מפנה את מקומה עבור עידן האינטרנט.