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

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

Get Started. It's Free
or sign up with your email address
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. New Media

2.1. Web 1.0

2.1.1. one-way broadcasting

2.2. Web 2.0

2.2.1. two-way communication

2.2.2. Social Networking

2.2.3. Democratisation

2.3. User generated content

2.3.1. Carter

2.3.1.1. digital graffiti - annotations to public multimedia content

2.3.1.2. Must integrate content capture, aggregation and annotation

2.3.2. Churchill et al.

2.3.2.1. Interactive community post boards

2.3.2.2. Iterative design encourages sense of ownership of final product

2.3.3. Fischer

2.3.3.1. social creativity of design communities

2.3.3.2. complexities of design require groups and communities

2.3.3.3. power of collective minds equipped with new media

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

2.3.4. Kahn & Kellner

2.3.4.1. Blogs critical approach

2.3.4.2. new media provides alternative symbolic economy

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

2.3.5. Fanning

2.3.5.1. UGC and emerging digital literacy

3. Cultural Participation

3.1. Bowman & Willis

3.1.1. virtually no barriers or costs to participation with internet

3.1.2. Why we participate

3.1.2.1. To gain status and build a reputation

3.1.2.2. to create connections with others with similar interests

3.1.2.3. sense-making and understanding

3.1.2.4. to inform and be informed

3.1.2.5. to entertain and be entertained

3.1.2.6. to create

3.1.3. Rules for participation

3.1.3.1. trust metrics

3.1.3.2. distributed credibility

3.1.3.3. egalitarian

3.1.3.4. intimacy

3.1.3.5. passion

3.1.3.6. speed of communication

3.1.3.7. free market of media

3.2. Nonnecke & Preece

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

3.3. Nielsen

3.3.1. 90% never contribute, 9% contribute a little, 1% contribute most content in online communities

3.4. Beneen

3.4.1. success of online communities depends on active participation

4. Old Media Standardisation of Cultural Production

4.1. Adorno & Horkheimer

4.1.1. The Culture Industry in Dialectic of Enlightenment

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

4.2. Benjamin

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

4.2.1.1. Both sides:

4.2.1.2. Allows the people closer access to art

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

5. utopian

5.1. Shirky

5.1.1. Internet and group forming

5.2. Leadbeater

5.2.1. The Web is an ideal platform for creativity

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

5.3. Jenkins

5.3.1. new media has democratised cultural production through participation

5.4. Jenkins & Thorburn

5.4.1. The Web has democratised society

5.5. Barbrook

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

5.6. McLuhan

5.6.1. Technology as extension of man and capacity

5.7. Rheingold

5.7.1. Online communities and information and support sharing

5.8. Bruns

5.8.1. technology should provide a platform to share with others

5.9. Carlson

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

5.10. Pine & Gilmore

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

6. Cultural Citizenship

6.1. Burgess et al.

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

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

6.2. Deuze

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

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

7. Collaborative Learning

7.1. Hoadley

7.1.1. Roles of users in collaborative learning

7.2. Bruns & Humphreys

7.2.1. Produsage model of learning for effective cultural participation

7.2.2. Wiki case study

8. Digital Literacy

8.1. Hargittai & Walejko

8.1.1. digital literacy is main barrier to participation

8.1.2. creative activity is related to socio-economic status

8.2. Geerts et al.

8.2.1. designing to support novice users to foster participation

8.2.2. investigate user needs

8.2.3. support and inspire contributions

9. Barriers to Participation

9.1. Ardichvili et al.

9.1.1. In knowledge-sharing communities:

9.1.2. Fear of criticism

9.1.3. unsure own contributions are important, accurate or relevant

9.1.4. Need to develop trust in communities

10. Motivators to Participation

10.1. Heller

10.1.1. Aesthetics important for interaction design and partcipation

10.2. Schaefer

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

10.3. Krasnova

10.3.1. Need to satisfy belongingness

10.3.2. esteem through self-representation

10.3.3. cogitive needs must be met

10.4. Schimke et al.

10.4.1. Incorporate group identity in one's own identity

10.5. Rafaeli & Ariel

10.5.1. Wikipedia contributions

10.5.1.1. pro vs non-pro contributions

10.5.1.2. constructive vs confrontational/vandalistic

10.5.1.3. anonymous vs identifiable

10.5.1.4. active vs lurking

10.5.2. Psychological explanations

10.5.2.1. focus on group dynamics:

10.5.2.2. express one's values

10.5.2.3. reward from environment

10.5.2.4. social adjustment within peer group

10.5.2.5. gain and exercise knowledge

10.5.3. Sociological explanations

10.5.3.1. network analysis

10.5.4. Media/Communication studies explanations

10.5.4.1. uses and gratification perpective

10.6. Cho & Cuihua

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

11. My Geistesblitzes

11.1. Strengths

11.2. What can you offer

11.3. Technology

12. dystopian

12.1. Postman

12.1.1. Electronic media (esp. television) trivialising content

12.2. Keen

12.2.1. amateurism devaluing content

12.3. Terranova

12.3.1. UGC as free market labour

12.4. Moulier-Boutang - (Thrift)

12.4.1. Cognitive capitalism- knowledge-for profit

12.5. Apple

12.5.1. iPhone, iPod, iPad DRM debate

12.5.2. Adobe Flash non-support

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

12.6. Kellner

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

13. Digital Art

13.1. Manovich

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

13.2. Ziv

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

13.3. Boden

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

13.4. Paul

13.4.1. Net Art and participation

13.5. Edmonds

13.5.1. Interactive art systems - between artists and with users

13.6. Coleman

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

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

13.7. Galanter

13.7.1. Links Pollock to generative art movement

13.7.1.1. Fractals and chaos theory

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

13.8. Tribe & Jana

13.8.1. new media has democratised art in a networked culture

13.9. Huang & Waldvogel

13.9.1. Interactive wallpaper - converging physical and virtual surroundings

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

13.10. Gilroy et al.

13.10.1. Affective interfaces in digital art

13.10.2. Capturing the affective experience is important

14. Creativity

14.1. Gauntlett

14.1.1. creativity for social good

14.1.2. making mark on world for self-esteem

14.1.3. connecting and collaborating for social capital

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

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

14.2. Lumsden

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

14.3. Blythe et al.

14.3.1. nature of creativity with digital tools

14.4. Baer

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

14.5. Sutton

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

14.5.2. Play-Doh invention example

14.6. Craft

14.6.1. Creativity and broadening thinking skills in education

14.7. Eales

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

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

14.8. Candy & Hori

14.8.1. Creativity benefits the individual and society

14.8.2. creativity and cognition

14.8.3. Digital creativity support tools

14.9. Edmonds

14.9.1. Art practice as creative knowledge work

14.9.2. HCI to provide positive support for creativity

14.10. Farooq et al.

14.10.1. socio-technical interventions to support creativity

14.10.2. need for measures for evaluating creativity

14.11. Dovey

14.11.1. Co-creativity and UGC define new media

14.12. Gilson & Shalley

14.12.1. team engagement in creative processes

14.12.1.1. high task interdependence

14.12.1.2. shared goals

14.12.1.3. supportive climate

14.12.1.4. group organisation and socialisation

14.13. Resnick

14.13.1. socio-technical capital through creativity and participation

14.14. Feldman

14.14.1. Creativity benefits society

14.14.2. Creativity and motivations

14.14.3. Development of creativity - societal/cultural influences

14.15. Illich

14.15.1. Tools for Coviviality

14.15.1.1. "individual freedom realised in personal interdepedence"

14.15.1.2. Tools are intrinsic to social relationships

14.15.1.3. mastering tools to invest the world with meaning

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

14.16. Greene

14.16.1. Tool characteristics to support creativity

14.16.1.1. support exploration & experimentation

14.16.1.2. support engagement with content to promote active learning

14.16.1.3. support search, retrieval & classification

14.16.1.4. support collaboration

14.16.1.5. support iteration and instructive mistakes

14.16.1.6. support domain-specific actions

15. Play

15.1. Pearce

15.1.1. Play is productive, especially through networks