New Media Technologies and Digital Art: Can stimulating creativity promote cultural participation?

New nedia technologies and digital art: Can stimulating creativity promote cultural participation?

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New Media Technologies and Digital Art: Can stimulating creativity promote cultural participation? by Mind Map: New Media Technologies and Digital Art: Can stimulating creativity promote cultural participation?

1. Technology

1.1. Fuller

1.1.1. media ecology, forces within technology

1.2. Kittler

1.2.1. autonomy in technology

1.2.2. technology determine our situation, not extensions of the human

1.3. Richards

1.3.1. User motivations - focus on people's interaction with others, not just with technology

2. dystopian

2.1. Postman

2.1.1. Electronic media (esp. television) trivialising content

2.2. Keen

2.2.1. amateurism devaluing content

2.3. Terranova

2.3.1. UGC as free market labour

2.4. Moulier-Boutang - (Thrift)

2.4.1. Cognitive capitalism- knowledge-for profit

2.5. Apple

2.5.1. iPhone, iPod, iPad DRM debate

2.5.2. Adobe Flash non-support

2.5.3. Apple TV - only plays movies downloaded (and paid for) on iTunes

2.6. Kellner

2.6.1. Techno-capitalism - corporate mergers and infotainment have shaped our current society

3. Digital Art

3.1. Manovich

3.1.1. Flash and digital art - programmers are the new digital artists

3.2. Ziv

3.2.1. likens abstracts forms of Flash to Suprematist, Constructivist and Bauhaus art movements

3.3. Boden

3.3.1. Generative art -is it really art as an expression of the self if computer generated?

3.4. Paul

3.4.1. Net Art and participation

3.5. Edmonds

3.5.1. Interactive art systems - between artists and with users

3.6. Coleman

3.6.1. Transformation of popular culture and the relation of new media to digital arts

3.6.2. cultural production demonstrates the effect and affect of new media on contemporary culture

3.7. Galanter

3.7.1. Links Pollock to generative art movement

3.7.1.1. Fractals and chaos theory

3.7.2. Genrative art can help to regain sense of place and participation

3.8. Tribe & Jana

3.8.1. new media has democratised art in a networked culture

3.9. Huang & Waldvogel

3.9.1. Interactive wallpaper - converging physical and virtual surroundings

3.9.2. psychological effect of social and spatial aspect of digital media

3.10. Gilroy et al.

3.10.1. Affective interfaces in digital art

3.10.2. Capturing the affective experience is important

4. New Media

4.1. Web 1.0

4.1.1. one-way broadcasting

4.2. Web 2.0

4.2.1. two-way communication

4.2.2. Social Networking

4.2.3. Democratisation

4.3. User generated content

4.3.1. Carter

4.3.1.1. digital graffiti - annotations to public multimedia content

4.3.1.2. Must integrate content capture, aggregation and annotation

4.3.2. Churchill et al.

4.3.2.1. Interactive community post boards

4.3.2.2. Iterative design encourages sense of ownership of final product

4.3.3. Fischer

4.3.3.1. social creativity of design communities

4.3.3.2. complexities of design require groups and communities

4.3.3.3. power of collective minds equipped with new media

4.3.3.4. new media overcomes the distances between people - spacial, temporal, conceptual and technological

4.3.4. Kahn & Kellner

4.3.4.1. Blogs critical approach

4.3.4.2. new media provides alternative symbolic economy

4.3.4.3. techno-politics - utilising digital tools for freedom and liberation

4.3.5. Fanning

4.3.5.1. UGC and emerging digital literacy

5. Creativity

5.1. Gauntlett

5.1.1. creativity for social good

5.1.2. making mark on world for self-esteem

5.1.3. connecting and collaborating for social capital

5.1.4. craftivism, guerilla gardening - digital back to real world

5.1.5. must be a broad shift from "sit back and be told" to "making and doing" culture

5.2. Lumsden

5.2.1. "creativity is a kind of capacity to think up something new that people find significant"

5.3. Blythe et al.

5.3.1. nature of creativity with digital tools

5.4. Baer

5.4.1. Promoting worker creativity with rewards (pay & recognition)

5.5. Sutton

5.5.1. Creativity needs access to others with different exprience and knowledge

5.5.2. Play-Doh invention example

5.6. Craft

5.6.1. Creativity and broadening thinking skills in education

5.7. Eales

5.7.1. Creativity in action - design and development of digital creativity support systems

5.7.2. Jill Lewis - using dig technology in traditional canvas paintings

5.8. Candy & Hori

5.8.1. Creativity benefits the individual and society

5.8.2. creativity and cognition

5.8.3. Digital creativity support tools

5.9. Edmonds

5.9.1. Art practice as creative knowledge work

5.9.2. HCI to provide positive support for creativity

5.10. Farooq et al.

5.10.1. socio-technical interventions to support creativity

5.10.2. need for measures for evaluating creativity

5.11. Dovey

5.11.1. Co-creativity and UGC define new media

5.12. Gilson & Shalley

5.12.1. team engagement in creative processes

5.12.1.1. high task interdependence

5.12.1.2. shared goals

5.12.1.3. supportive climate

5.12.1.4. group organisation and socialisation

5.13. Resnick

5.13.1. socio-technical capital through creativity and participation

5.14. Feldman

5.14.1. Creativity benefits society

5.14.2. Creativity and motivations

5.14.3. Development of creativity - societal/cultural influences

5.15. Illich

5.15.1. Tools for Coviviality

5.15.1.1. "individual freedom realised in personal interdepedence"

5.15.1.2. Tools are intrinsic to social relationships

5.15.1.3. mastering tools to invest the world with meaning

5.15.1.4. Tools should accept expressions of the user, not just be automated machines

5.16. Greene

5.16.1. Tool characteristics to support creativity

5.16.1.1. support exploration & experimentation

5.16.1.2. support engagement with content to promote active learning

5.16.1.3. support search, retrieval & classification

5.16.1.4. support collaboration

5.16.1.5. support iteration and instructive mistakes

5.16.1.6. support domain-specific actions

6. Cultural Participation

6.1. Bowman & Willis

6.1.1. virtually no barriers or costs to participation with internet

6.1.2. Why we participate

6.1.2.1. To gain status and build a reputation

6.1.2.2. to create connections with others with similar interests

6.1.2.3. sense-making and understanding

6.1.2.4. to inform and be informed

6.1.2.5. to entertain and be entertained

6.1.2.6. to create

6.1.3. Rules for participation

6.1.3.1. trust metrics

6.1.3.2. distributed credibility

6.1.3.3. egalitarian

6.1.3.4. intimacy

6.1.3.5. passion

6.1.3.6. speed of communication

6.1.3.7. free market of media

6.2. Nonnecke & Preece

6.2.1. few users actively contribute so active participation is low, most are lurkers

6.3. Nielsen

6.3.1. 90% never contribute, 9% contribute a little, 1% contribute most content in online communities

6.4. Beneen

6.4.1. success of online communities depends on active participation

7. Old Media Standardisation of Cultural Production

7.1. Adorno & Horkheimer

7.1.1. The Culture Industry in Dialectic of Enlightenment

7.1.1.1. technology has caused standardisation of cultural production, media controls society rather than reflecting it

7.2. Benjamin

7.2.1. The work of art in the mechanical age of reproduction

7.2.1.1. Both sides:

7.2.1.2. Allows the people closer access to art

7.2.1.3. devalues the 'aura' or uniqueness of the artwork

8. utopian

8.1. Shirky

8.1.1. Internet and group forming

8.2. Leadbeater

8.2.1. The Web is an ideal platform for creativity

8.2.2. Amateur content does not matter as long as freedom is extended

8.3. Jenkins

8.3.1. new media has democratised cultural production through participation

8.4. Jenkins & Thorburn

8.4.1. The Web has democratised society

8.5. Barbrook

8.5.1. Media freedom - even early technologies such as the printing press democratised as allwed people a voice

8.6. McLuhan

8.6.1. Technology as extension of man and capacity

8.7. Rheingold

8.7.1. Online communities and information and support sharing

8.8. Bruns

8.8.1. technology should provide a platform to share with others

8.9. Carlson

8.9.1. new media is antidote to standardised production through non-market group practices

8.10. Pine & Gilmore

8.10.1. 'Experience economy' - user centred design allows consumers input to production

9. Cultural Citizenship

9.1. Burgess et al.

9.1.1. cult citizenship not just political but creative and social practices

9.1.2. case studies of internet youth radio & urban village digital storytelling

9.2. Deuze

9.2.1. digital culture is the way people act and interact within the contemporary network society

9.2.2. the Web, changes the cultural citizenship due to the ways we participate and give meaning to the world

10. Collaborative Learning

10.1. Hoadley

10.1.1. Roles of users in collaborative learning

10.2. Bruns & Humphreys

10.2.1. Produsage model of learning for effective cultural participation

10.2.2. Wiki case study

11. Digital Literacy

11.1. Hargittai & Walejko

11.1.1. digital literacy is main barrier to participation

11.1.2. creative activity is related to socio-economic status

11.2. Geerts et al.

11.2.1. designing to support novice users to foster participation

11.2.2. investigate user needs

11.2.3. support and inspire contributions

12. Play

12.1. Pearce

12.1.1. Play is productive, especially through networks

13. Barriers to Participation

13.1. Ardichvili et al.

13.1.1. In knowledge-sharing communities:

13.1.2. Fear of criticism

13.1.3. unsure own contributions are important, accurate or relevant

13.1.4. Need to develop trust in communities

14. Motivators to Participation

14.1. Heller

14.1.1. Aesthetics important for interaction design and partcipation

14.2. Schaefer

14.2.1. SNS must provide space to maintain existing contacts and support new formation of relationships

14.3. Krasnova

14.3.1. Need to satisfy belongingness

14.3.2. esteem through self-representation

14.3.3. cogitive needs must be met

14.4. Schimke et al.

14.4.1. Incorporate group identity in one's own identity

14.5. Rafaeli & Ariel

14.5.1. Wikipedia contributions

14.5.1.1. pro vs non-pro contributions

14.5.1.2. constructive vs confrontational/vandalistic

14.5.1.3. anonymous vs identifiable

14.5.1.4. active vs lurking

14.5.2. Psychological explanations

14.5.2.1. focus on group dynamics:

14.5.2.2. express one's values

14.5.2.3. reward from environment

14.5.2.4. social adjustment within peer group

14.5.2.5. gain and exercise knowledge

14.5.3. Sociological explanations

14.5.3.1. network analysis

14.5.4. Media/Communication studies explanations

14.5.4.1. uses and gratification perpective

14.6. Cho & Cuihua

14.6.1. rewards, sense of self-importance and community interest

15. My Geistesblitzes

15.1. Strengths

15.2. What can you offer

15.3. Technology