Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC (Ricardo Mbarkho)

Hi Anie.
The different forms of Patois (or Patwa, or Potwah...) are becoming
the most useful intrument to make ourselves (non maternal english
speakers all over the world) able to communicate and, in fact,
literate - in the sense of liberated from bad language stigma - patois
users. I think that Jamaica and some distinct Jamaicans deserve to be
praised for this major achievment. I did it, in my own way, in one of
my posts:

http://atirateaomar.blogspot.com/2009/01/babylon-literacy.html

Be well.
Vítor Reia

Citando annie paul <anniepaulish@yahoo.com>:

> Dear Yasminers and others,
>
> Thanks to Ricardo for inviting me to be part of these discussions.
> The contributions by Eugenio and Ricardo on cellphones and the way
> they connect one with distant troubled parts of the world or zapping
> in Beirut i found tremendously insightful.
>
> My thoughts at this point are a little scattered. i live in
> Kingston, Jamaica, and new media has been slow in arriving in this
> little backwater. The first penetration would have been by satellite
> and cable tv, then the invasion of the cellphones and now much more
> gradually things like Facebook, Twitter and other social networking
> sites. Jamaica claims to be an English-speaking country but in fact
> large numbers of Jamaicans on the lower end of the income scales
> speak only Patwa (Creole), which is an oral language, and also the
> language of the streets rather than the parlours.
>
> For someone like me, born in India and resident in Jamaica for 21
> years now it has been quite difficult to acquire Patwa, because it
> simply does not circulate in middle class circles such as i might
> inhabit. Whereas i might follow it i would not dare to speak it for
> fear of being laughed at but i find that after a year on Facebook my
> Patwa has improved substantially and i now venture to speak in the
> language without incurring amusement and ridicule.
>
> This is because the Jamaican Facebook community communicates volubly
> in Patwa commenting on events in it, exclaiming, expounding, cursing
> and generally expressing themselves in Patwa which now takes written
> form making it easier for a foreigner like me to become acqainted
> with its grammar and ever evolving vocabulary.
>
> Meanwhile the Linguistics Department at the University of the West
> Indies is laboriously concocting a 'standard' version of patwa using
> an esoteric spelling system that alienates its users. They are
> trying to turn an oral language into a written one using very
> conventional methods which really have little or no currency
> especially in the face of online conversations in the language that
> proceed without benefit of a written orthography.
>
> So i'm just putting this out there to begin with as an example of
> democracy and social connectivity being enhanced by new media
> networks and also impacting on identity and linguistic community.
>
> thanks,
>
> Annie
>
> Annie Paul
> http://anniepaulactivevoice.blogspot.com/
>
> --- On Fri, 4/3/09, yasmin_discussions-request@estia.media.uoa.gr
> <yasmin_discussions-request@estia.media.uoa.gr> wrote:
>
> From: yasmin_discussions-request@estia.media.uoa.gr
> <yasmin_discussions-request@estia.media.uoa.gr>
> Subject: Yasmin_discussions Digest, Vol 17, Issue 1
> To: yasmin_discussions@estia.media.uoa.gr
> Date: Friday, April 3, 2009, 1:12 PM
>
> Send Yasmin_discussions mailing list submissions to
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> Today's Topics:
>
>    1. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Ricardo Mbarkho)
>    2. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY
>       POLITIC (Josep Perell?)
>    3. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Ricardo Mbarkho)
>    4. Re: the consciousness of bald monkeys and the    invention of
>       the self (teoman madra)
>    5. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Eugenio Tisselli)
>    6. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Wagner, Teresa)
>    7. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Ricardo Mbarkho)
>    8. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Ricardo Mbarkho)
>    9. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS,    AND THE BODY
>       POLITIC (Wagner, Teresa)
>   10. Re: NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY
>       POLITIC (Philippe Baudelot)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 31 Mar 2009 22:27:32 -0700 (PDT)
> From: Ricardo Mbarkho <ricardombarkho@yahoo.com>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <690505.25641.qm@web62103.mail.re1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Dear Yasminers,(http://jordancrandall.com)is a media artist and
> theorist based in Los Angeles. ?He is Associate Professor in the
> Visual Arts Department at Universityof California, San Diego. ?He is
> currently at work on a multi-platform media work entitled "Showing,"
> which looks at ecologies of display and the construction of the self
> through stagings, arousals, extensions, and intimacies. He is also
> at work on a development of assemblage theory that focuses on
> network ecologies, emergent presencing, and the dynamics of desire.
> ?He is the founding editor of the new online journal Version
> (http://version.org).
> I also welcome Jordan Crandall who joined the invited Respondents yesterday.
> ?
> Best,
> Ricardo Mbarkho
> ?
> ?
> Biography:
> Jordan Crandall
>
>
>      
>
> ------------------------------
>
> Message: 2
> Date: Tue, 31 Mar 2009 13:28:13 +0200
> From: Josep Perell? <josep.perello@ub.edu>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS, AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <49D1FE4D.3060402@ub.edu>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> Dear Yasminers,
> I would first all to congratulate all of you for your active
> discussions. As a physicist, I am studying these sort of dynamics
> introduced by Ricardo specially financial markets. There is huge
> literature in Physics devoted to the so-called "Social Atoms". Following
> the same lines, we are organising a big multidisciplinar congress to be
> held in Barcelona next 10-12 December. We have just opened the call for
> papers. I hope you find it interesting.
> All best,
> Josep
>
> *************************************************
> Dear colleagues,
>
> Please find attached a call for papers for the three-day conference
> "Changing Cultures: Cultures of Change" organised by the EU-funded
> research network ATACD, A topological Approach to Cultural Dynamics.
>
> Across disciplines, topological or intensive approaches to the study of
> culture treat change as normal and immanent rather than exceptional and
> externally determined.  In these approaches, cultures are defined by the
> possibilities they offer for change rather than by their size, location
> or essence. These approaches thus provide a set of tools and concepts to
> think about different levels and kinds of change - learning,
> transmission, innovation, adaptation, self-organisation and evolution. 
> This conference asks: what is the potential of topological and other
> intensive approaches to culture and space for thinking about change?
>
> Plenary speakers who have confirmed so far include: Rosi Braidotti,
> Manuel DeLanda, J. Doyne Farmer, Matthew Fuller, Alex Galloway, Penny
> Harvey, Scott Lash, Richard Rogers, Luc Steels, Eyal Weizmann.
>
> There will be special events from graduate students, and for industry
> and policymakers. Further information about these will be announced on
> the conference page of the ATACD website http://www.atacd.net.
>
> The deadline for paper submissions to the conference is Thursday 28 May
> 2009. Abstracts with a max length of 300 words will need to be submitted
> online in text only format (no diagrams, tables or graphs are
> permitted). Full instructions for online submission can be found on the
> ATACD website:
> <http://www.atacd.net/index.php?option=com_content&task=view&id=153&Itemid=40>.
>
>
> In addition to the call for papers, an e-poster and an application of
> interest form are also attached.  We would be very grateful if you would
> forward this on to your networks. For more information about the ATACD
> conference or if you would like to be put on our mailing list please
> email atacd@gold.ac.uk.
>
> *******************************************************
>
> En/na Ricardo Mbarkho ha escrit:
>> Dear Yasminers,
>>
>>
>> As you know, tomorrow Wednesday we will start a new discussion on:
>> NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC
>>  
>> The discussion will run through the end of April.
>> For the members who just joined, here is again our topic below.
>>  
>> You are all invited to participate,
>>  
>> Best,
>> Ricardo Mbarkho
>>  
>> --
>>  
>> Topic:
>>
>> This discussion deals with how (new) media can affect local
>> behaviours related to creativity and innovation within a
>> socio-political context, and what is the link between politic and
>> the ways that users behave.
>> We are interested in exploring how artistic and cultural expression
>> in a given location can be affected by global networked systems,
>> and the interactions with social systems and behaviours. The
>> Intention behind artworks vs. new media as a device for being in
>> touch, so for being creative.
>>
>> SMS strategies can affect politics and democracy, especially with
>> programs based on mass voting via SMS; depending on the voting
>> results, this social activity can challenge  the community
>> isolation versus the fear of dissolution into a more regional or
>> global system.
>> Politics uses (new) media when planning and imagining dozens of
>> utopian models for the country; but media power is explored on the
>> other hand by artists who reflect the absurdity of the politic.
>>
>>
>> Virtual social networks maintain difficult relations caused by
>> economical necessities that force families to disperse physically
>> in order to seek living. In this vibrant atmosphere, the identity
>> and belonging convictions are often scrambled by the eclectic media
>> content.
>> --
>>  
>> Questions that are raised include:
>> - Is (new) media a tool which reinforces people's creativity and
>> how it is expressed in terms of social behaviour?
>> - How are democracy and social connectivity via new media related?
>> - Are global and local systems two separate entities, or is it
>> about one place?
>> - What is the impact of the media content on identity in your
>> socio-politic sphere?
>> - How is the economy affecting visual forms of communication?
>> - Do artworks emerge from a specific Intention or from media models
>> constrained by business requirements?
>> - What new roles do virtual social networks adopt to maintain
>> difficult relations?
>>  
>>  
>>  
>> --
>>  
>>  
>>  
>>  
>> Moderator:
>>  
>> Ricardo Mbarkho
>>  
>> Ricardo Mbarkho is an artist and lecturer. He was born in Beirut,
>> Lebanon, in 1974. His works and lectures take part in many
>> publications, media, and in education and art institutions and
>> events in Lebanon and internationally. In his work, he often uses
>> new media to tackle questions mainly related to human relations and
>> belonging issues within the socio-political sphere. Ricardo Mbarkho
>> received his Art Diplomas from Ecole Nationale Sup?rieure des
>> Beaux-Arts and Ecole Sup?rieure d?Etudes Cin?matographiques, Paris,
>> France and from Institut Sup?rieur des Beaux-Arts, Beirut. He also
>> completed an exchange study program at Carnegie Mellon University,
>> Pittsburgh, PA, USA. He teaches art, video, and new media at the
>> Acad?mie Libanaise des Beaux-Arts, Beirut. Currently, he lives and
>> works in Lebanon and France.
>> www.ricardombarkho.com
>>  
>> --
>>
>> Invited Respondents:
>>  
>>
>> Annie Paul
>>
>> Annie Paul works at the University of the West Indies, Mona,
>> Jamaica, where she heads the Annie Paul works at the University of
>> the West Indies, Mona , Jamaica , where she heads the Publications
>> Section of the Sir Arthur Lewis Institute of Social and Economic
>> Studies (SALISES). She is a founding editor of the journal Small
>> Axe (Duke University Press) and the recipient of a grant from the
>> Prince Claus Fund ( Netherlands ) in support of her book project,
>> Suitable Subjects: Visual Art and Popular Culture in Postcolonial
>> Jamaica. She has also been a contributor to the prestigious
>> Documenta11; the AICA 2000 International Congress & Symposium at
>> the Tate Gallery of Modern Art, London; Meridien Masterpieces, BBC
>> World Service; Dialogos Iberoamericanos (Valencia, Spain); the
>> Guangzhou Triennale and in forums sponsored by Iniva (Institute of
>> International Visual Art, London). Paul is author of the blog
>> Active Voice (http://anniepaulactivevoice.blogspot.com) and
>>   her website is: http://www.anniepaul.com/
>>  
>> --
>>  
>> Eugenio Tisselli V?lez
>>  
>> Born in Mexico City, 1972. Writer, teacher and programmer. His
>> areas of interest include digital narratives and technology as a
>> tool/medium for social research. His work (installation,
>> performance, software, text and net.art) has been featured in
>> different festivals and exhibitions around the world, and is
>> available at www.motorhueso.net. He is the developer of zexe.net, a
>> mobile communication project for groups in risk of exclusion,
>> initiated by Antoni Abad. He worked as an Associate Researcher at
>> Sony Computer Science Lab in Paris. Currently, he is a teacher and
>> co-director of the Master in Digital Arts at the Pompeu Fabra
>> University, Barcelona.
>>
>> --
>>
>> Delphine Tonglet
>>  
>> Graduated in History of Art, Delphine Tonglet collaborates with
>> Studio Azzurro, an Italian group of video creation from 2000 to
>> 2008 as responsible for public relations (www.studioazzurro.com).
>> During her collaboration with Studio Azzurro she followed the
>> project "M?ditations M?diterran?es, a two years production 
>> presented as a exhibition dedicated to Mediterranean area
>> interpreted with new technologies language and other productions
>> for exhibitions or museums dedicated to various thematic with a
>> particular attention on territories aspects and visitor?s
>> involvement. For Studio Azzurro, she coordinated various research
>> projects financed by European Commission, a first one dedicated to
>> digital libraries (www.brickscommunity.org) and a second one
>> dedicated to multimodal interfaces applied to digital theatre
>> (www.callas-newmedia.eu); She also followed RAMI a Mediterranean
>> project focused on Encounters on Arts and Multimedia
>>   (http://rami.lafriche.org/). In 2009, she started a new
>> collaboration with yoox.com, a global internet retailing partner
>> for the leading fashion and design brand as coordinator of special
>> projects, multidisciplinary projects related to fashion, culture,
>> design and art.
>>  
>> --
>>  
>> Tereza Wagner
>>                                                  
>> Tereza Wagner an art historian and a UNESCO Senior Programme
>> Specialist dealing with arts and creative issues www.unesco.org.
>> Her graduate and undergraduate degrees are from Paris V University,
>> France, including a doctorate in Anthropology of Contemporary Arts.
>> Former member of UNESCO?s Arts and Cultural Enterprise Division,
>> she is now in charge of the co-ordination of cultural events within
>> the Cultural sector of UNESCO. During her career in UNESCO, her
>> work operates within the framework of a professional team of
>> specialists on an international scale: They initiated the UNESCO
>> Prize for the Promotion of the Arts
>> www.unesco.org/culture/creativity/prize, which includes the new
>> UNESCO Digital Award; and launched an international campaign for
>> film restoration including an international festival of recently
>> restored films; and a programme for the teaching of arts which lead
>> to the creation of the LEA International web site
>> www.unesco.org/lea; and to the
>>   holding of the first World Conference on Arts Education ?Building
>> Creative Capacities for the 21st Century? (March 2006, Lisbon,
>> Portugal). She leaded the DigiArts programme: UNESCO Knowledge
>> Portal http://portal.unesco.org/digiarts, an initiative to promote
>> ICT creative tools and e-Learning among people at school level. She
>> has also published articles on African cinema, African contemporary
>> arts and arts education in specialised magazines.
>>  
>> UNESCO, 7, pl. de Fontenoy 75007 Paris, France
>> Tel: + (33) 1 45 68 43 25; Fax: 45 68 55 89   
>>  
>> ---------
>>  
>>  
>>  
>>  
>> You can subscribe to YASMIN Discussion list, or change your
>> existing subscription below:
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>>
>>
>> ---------
>>
>>
>>        
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>
>
> --
> Josep Perell?
> Despatx 3.11
> Departament de F?sica Fonamental
> Universitat de Barcelona
> Mart? i Franqu?s, 1
> Barcelona E-08028 (Spain)
>
> Tel 0034 934039207 | Fax 0034 934021149
> josep.perello@ub.edu | http://www.ffn.ub.es/perello
>
> Physics and Finance Group http://finance.ffn.ub.es
> A Topological Approach to Cultural Dynamics http://www.atacd.net
>
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Tue, 31 Mar 2009 23:15:31 -0700 (PDT)
> From: Ricardo Mbarkho <ricardombarkho@yahoo.com>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <651174.99891.qm@web62102.mail.re1.yahoo.com>
> Content-Type: text/plain; charset=us-ascii
>
> Dear Yasminers,
> I also welcome Jordan Crandall who joined the invited Respondents yesterday.
>
> Best,
> Ricardo Mbarkho
>
>
> Biography:
> Jordan Crandall (http://jordancrandall.com) is a media artist and
> theorist based in Los Angeles.  He is Associate Professor in the
> Visual Arts Department at University of California, San Diego.  He
> is currently at work on a multi-platform media work entitled
> "Showing," which looks at ecologies of display and the construction
> of the self through stagings, arousals, extensions, and intimacies.
> He is also at work on a development of assemblage theory that
> focuses on network ecologies, emergent presencing, and the dynamics
> of desire.  He is the founding editor of the new online journal
> Version (http://version.org).
>
>
>      
>
> ------------------------------
>
> Message: 4
> Date: Wed, 1 Apr 2009 23:52:38 +0300
> From: teoman madra <namoet2@gmail.com>
> Subject: Re: [Yasmin_discussions] the consciousness of bald monkeys
>     and the    invention of the self
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
>     <b6eb371f0904011352i1d03a72dl53e657b91f324d65@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-9
>
> Dear Mr thill,
>
> Even though many of the submission are interesting and somewhat on
> around the same topics. On artists as inventors, i want to mention
> again, i seem to suspect having started doing photogramms and recently
> some digitalgramms in photo domains with alternative technology
> handlings, in a time zone of 5 decades.  Photogramms got started at B
> positions against the moving lite sources and the camera in simultaneous
> rythmic movements round about its axes, not randomly but while listening
> to free jazz, 1964. Next to this, by curiosity sake minimal arts moved in,
> as add ons along
> the following decades. But, experimental things next to new music got
> continued
> incessantly. My recent digital gramms that i enjoy for juxtaposing them with
> mt the
> photogramms as their extended versions, are produced now, using a standard
> graphic program with other aims than book making, instead to create new
> aesthetic forms
> only, with instant random guidance.   Maybe, only workshops will prove these
> applications
> to be helpfull to young people to exercise them and get amazing creative
> stuff.
> Maybe, what i do, are rule of the thumb issues, only involved to good music
> selections
> or, in their half a century relativity, they are simple aberrations. On the
> other hand,
> all existing web sites about photogramms are not too many, or they are just
> outdated.
> In all, cases ? seem to have tried hard to make such an argument issue to go
> on with  my photo web site. www.fiickr.com/teomanmadra and on its recent
> contents.  If the computer softwares will be carried on strictly according
> the exact how to do directions, new technology may bring around a good
> amount technology boredom. In reverse, deconstructive experiments on new
> technologies, as new media art concerns at least they may not be so harmful
> nor not so dangerous at all.  My birthday is nearing and yesterday was the
> last day of march 2009, covering artists as inventors Yasmin discussions. On
> the
> hand, creative photography and art issues, has already throughout a big
> century lifetime ,  unpleasant incidences in our memories. ? believe, this
> issue on Good Photography needs to be settled in peace soon. Analog
> photography has ended her normal life already, with all her mishappenings
> forgiven in.
>
> teoman madra  namoet2@gmail.com
>
> On Mon, Mar 30, 2009 at 5:45 AM, <robert.thill@gmail.com> wrote:
>
>> Dear Ramon, Roger, Derek,
>>
>> When Roger broached the subject of fiction in relation to invention,
>> especially science fiction, I am now not surprised that Ramon
>> Guardans, who raised the topic of the invention of the self today,
>> commented on it (18 March 2009). Ramon wrote:
>>
>> "I would say that any invention is at some stage a fiction but not any
>> fiction materializes into invention. It is when the ideas become
>> things that the transition or transduction from fiction to invention
>> occurs, as in thinking a tune and playing it on an instrument or
>> voice, crafting an image, object or machine.  This is probably true in
>> scientific work too where different optional fictions are tested and
>> compared."
>>
>> In a post yesterday, Roger explored human consciousness in response to
>> a post by Derek Hales. Roger wrote:
>>
>> "It seems to me that both artists and scientists are indeed in the
>> story construction business, and as you put it " inventions are the
>> nexus of the real and the imaginary."
>>
>> In the context of these topics---the invention of self, "invention" as
>> "fiction," (human) consciousness, and narrative---it seems fitting to
>> bring up an old science fiction film titled _Blade Runner_ (1982),
>> which could be described as a late 20th-century interpretation of
>> "Frankenstein."
>>
>> The story is set in the future (Los Angeles, 2019) and poses a
>> relationship between humans and replicants (bio-mechanical robots that
>> [who?] are nearly indistinguishable from humans). They are used as
>> slave labor in "off-world" colonies. The narrative is easy to find
>> online so I won't waste too much time with it here.
>>
>> However, the advanced replicants (Nexus 6), began to become a violent
>> disciplinary problem as they developed their own emotional responses
>> (the Blade Runner is a kind of police officer who kills or "retires"
>> them if a problem arises). One experimental replicant was "gifted"
>> with memories to create more emotional maturity. The tension between
>> the application of "memory implants" in one replicant (who doesn't
>> quiet understand that she is not human) and a rogue group of
>> replicants (who understand their status and seek to extend their lives
>> by returning to earth to find their creator in an effort to extend
>> their lives), creates a visceral, interesting conundrum of
>> authenticity in defining consciousness and personal experience (yes,
>> desire and the fundamental question of what it means to be a human are
>> part of this drama.)
>>
>> The subtext of slavery (robots) tears at a key crisis in non-fiction
>> human society. In a final sequence, as one replicant watches the Blade
>> Runner, who is charged with killing him, hang from the ledge of a
>> building, he says, "Quite an experience to live in fear, isn't it?
>> That's what it is to be a slave." Here "fear" could be interchanged
>> with "hate." He then saves the Blade Runner's life. (Yes, the idea
>> that artificial life forms are more humane than humans is a familiar
>> but still strong narrative device.)
>>
>> The replicant goes on to describe his own experience as he is about to
>> "expire" (die), saying, "I have seen things you people wouldn't
>> believe," and continues to poetically describe memories of
>> extraordinary personal (otherworldly) experiences that would end with
>> him. However, the keywords in the dialogue are "you people," which is
>> coded language that has been used by mostly white people toward black
>> people (and so-called "others") in the United States. In my opinion,
>> this inversion of terms, subtly and ironically calls more attention to
>> their status in relation to one another.
>>
>> The fact that both the lead characters in this exchange both appear to
>> be white does not soften the allegory between master and
>> (mass-produced) slave, at least not for US audiences (it might
>> actually make it more powerful). While the movie also raises the
>> interesting question of whether or not that the Blade Runner is actual
>> human, it more directly describes a system of inequality between
>> conscious beings.
>>
>> Keeping in mind this kind of story (and that much has changed since it
>> was created), the notion that interaction with community members, as
>> suggested by Simon Biggs, might be a neutral playing field seems
>> utopian to me---but still possible with better understanding between
>> people of various statuses and experiences, including ages (young and
>> old). Maxine Heppner pointed out one aspect of the diversity of our
>> communities in her striking post earlier today.
>>
>> On a separate note, Derek, I don't think "problem-solving" is a
>> difficult term to use in art contexts. I would say that art is
>> continually involved in a similar process to what you have described.
>> However, it is more likely to be described in art contexts as
>> constructions of a dialogue that involves problem-solving and critical
>> responses.
>>
>> Best,
>>
>> Robert Thill
>>
>>
>>
>> On 3/29/09, Simon Biggs <s.biggs@eca.ac.uk> wrote:
>> > A model could be proposed where self is apprehended as created through
>> > interaction between members of communities ? as such the first act of
>> > creation is the socially constituted self, from which all other creation
>> > (and invention) flows. In this context the model of the solitary artist
>> or
>> > inventor, producing artefacts that embody creativity, is contested as the
>> > ideal method to achieve creative outcomes. Rather, creativity is proposed
>> as
>> > an activity of exchange that enables (creates) people and communities.
>> > Apprehending creativity as emergent from and innate to the interactions
>> of
>> > people allows a non-instrumentalist view to emerge. Creativity is not
>> valued
>> > as arising from a perceived need, a solution or product, nor from a
>> > supply-side ?blue skies? ideal, but rather as an emergent property of
>> > communities. This avoids the reductivist thinking that so much debate in
>> > this field evokes, especially when it gets caught up with areas like
>> > neuro-science.
>> >
>> > Regards
>> >
>> > Simon
>> >
>> >
>> > On 29/3/09 11:47, "roger malina" <rmalina@alum.mit.edu> wrote:
>> >
>> >> ramon
>> >>
>> >> thank you so much for the addition of "invention of the self" to
>> >> the discussion on artists as inventors !!
>> >>
>> >> it seems to me that the brain is such a "plastic organ" that
>> >> indeed many things that we take to be part of innate nature
>> >> actually are the result of our interactions with the artefacts we
>> >> invent
>> >>
>> >> one of the big mysteries in the history of human beings is why
>> >> it took so long to invent written languages= written languates are
>> >> a really recent invention in the history of homo sapiens
>> >>
>> >> so much of what i consider to be part of "myself' comes not only
>> >> from my interactions with other people and the world, but with the
>> >> artefacts we build= what was it like to be a human being before
>> >> written language and the visual arts were invented ?
>> >>
>> >> --
>> >> Roger Malina is in France at this time
>> >>
>> >> IN USA
>> >>
>> >> phone 1 510 853 2007
>> >>
>> >>
>> >> When in France  I can be reached at:
>> >> 011  33 (0) 6 15 79 59 26
>> >> or         (0) 6 80 45 94 47
>> >> _______________________________________________
>> >> Yasmin_discussions mailing list
>> >> Yasmin_discussions@estia.media.uoa.gr
>> >> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>> >>
>> >> Yasmin URL: http://www.media.uoa.gr/yasmin
>> >>
>> >> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>> to.
>> >> In
>> >> the page that will appear ("info page"), enter e-mail address, name, and
>> >> password in the fields found further down the page.
>> >>
>> >> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> >> your
>> >> e-mail address in the last field. Enter password if asked. Click on the
>> >> unsubscribe button on the page that will appear ("options page").
>> >>
>> >> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> >> Digest
>> >> Mode" option and set it to either on or off.
>> >
>> >
>> >
>> > Simon Biggs
>> > Research Professor
>> > edinburgh college of art
>> > s.biggs@eca.ac.uk
>> > www.eca.ac.uk
>> > www.eca.ac.uk/circle/
>> >
>> > simon@littlepig.org.uk
>> > www.littlepig.org.uk
>> > AIM/Skype: simonbiggsuk
>> >
>> >
>> > Edinburgh College of Art (eca) is a charity registered in Scotland,
>> number
>> > SC009201
>> >
>> >
>> > _______________________________________________
>> > Yasmin_discussions mailing list
>> > Yasmin_discussions@estia.media.uoa.gr
>> > http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>> >
>> > Yasmin URL: http://www.media.uoa.gr/yasmin
>> >
>> > HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In
>> > the page that will appear ("info page"), enter e-mail address, name, and
>> > password in the fields found further down the page.
>> >
>> > HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your
>> > e-mail address in the last field. Enter password if asked. Click on the
>> > unsubscribe button on the page that will appear ("options page").
>> >
>> > HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> > Digest Mode" option and set it to either on or off.
>> >
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 2 Apr 2009 12:22:17 -0700 (PDT)
> From: Eugenio Tisselli <cubo23@yahoo.com>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID: <698084.73891.qm@web50212.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
>
> Dear Yasminers,
>
> First of all, I would like to thank Ricardo Mbarkho and Roger Malina
> for having me as a respondent in our new topic: "New Media: User's
> Behaviour, Social Systems, and the Body Politic"... I hope that we
> will have an interesting exchange!
>
> I would like to start by adressing one of the main questions that
> Ricardo has proposed: "Are global and local systems two separate
> entities, or is it about one place?" ... for too long, a tendency to
> think about the local and the global as two separate -yet
> interacting- social spaces has prevailed. But what lies in between?
> Do we have to make a quantum leap to travel between those two
> spaces? And where would we "land" if we did the jump from our
> locality into "the global"?
>
> As Bruno Latour proposes in his revealing book "Reassembling the
> social" (by the way, I'm not a sociologist ;), we can "expand
> locally everywhere", provided we can trace the links between
> different localities. The theory of network topology, together with
> interactive visualization technologies, can become valuable tools
> for tracking the myriads of connections in the increasingly complex
> system that our world is becoming. 
>
> Think about your mobile phone for a while: a symbol of the
> globalized practice of ubiquitous communication, and yet an intimate
> and personal object with which you can contact your colleagues or
> reach your loved ones... whether they are physically near or far.
> Your mobile phone turns you into a moving communications hub, a tool
> for invoking dispersed localities and bringing them into your own.
> But think also about the thing itself: the screen, the plastic case,
> the circuits and microchips... where do all these parts come from?
> Components from all around the world, suddenly in the palm of your
> hand. And while mobile phones are being used more and more as tools
> that serve not only for communication in daily life, but also as
> media in which creative and artistic practices are based, they are
> also the direct cause of many conflicts which (seem to) happen "out
> there", in the "global space". If we trace the route which ends in
> the palm of our hands, between the
> circuits in our mobile phones, we will almost certainly find its
> origin in Central Africa, where brutal wars are being financed
> greatly through the exploitation of Coltan, a metallic ore mined
> mostly in Congo which has become an indispensable material for the
> manufacturing of consumer electronics... such as our phone.
>
> Viewing "the local" and "the global" as two separate entities tends
> to obscure the links, routes and connections that we must be aware
> of, if we want to make a more humane, rational and respectful usage
> of technology, or of consumer products in general. We should be able
> track the far-away localities from which our own local things come
> from; otherwise, we will find ourselves blinded by the distance.
> Quoting Latour, "... this tracking may end up in a shared definition
> of a common world"... sounds like it might be worth giving it a try!
> But how do we start?
>
> Looking forward to hearing from you all...
>
> Best wishes,
> Eugenio.
>
>
>
>
>
>
>
> Eugenio Tisselli V?lez
> cubo23@yahoo.com
> http://www.motorhueso.net
>
>
>       ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el
> nuevo Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>
>
>
> ------------------------------
>
> Message: 6
> Date: Fri, 3 Apr 2009 10:59:00 +0200
> From: "Wagner, Teresa" <T.Wagner@unesco.org>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: <cubo23@yahoo.com>,    "YASMIN DISCUSSIONS"
>     <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
>    
> <475718613147B44682976AF45D6FD3450A1D77FD@MAILSERVER-01.hq.int.unesco.org>
>    
> Content-Type: text/plain;    charset="iso-8859-1"
>
>
> Dear Yasminers and friends,
>
> Allow me first of all to thank Ricardo and Roger for inviting me to
> participate in your discussions.
>
> I would like to link the very interesting point made by Eugienio,
> which opens a one month discussion about the impact of new media on
> social behaviour and creativity, to the creative experience. He
> explains how the new media brings local into global and vice versa. 
> I would like to apply his statement to creativity and put on a new
> question: has new media created a new art or has it created a new
> artistic expression?
>
> In other terms my point is whether new media is a powerful tool for
> creativity in different art fields or whether it has introduced new
> concepts and new ideas which had permitted the emersion of a new
> form of art.
>
> Generally speaking if we look back to the art history we know (as
> defined by J. Ranci?re) that in the 19th century fine arts had a
> representative "scope". Creativity kept on serving that aim. In the
> 20th century art moved towards expressivity. With the introduction
> of new media in the 60' something else has raised.  P. Weibel thinks
> that digital image has changed man's conception. Movement, speed,
> transformation, etc.  are considered as the main essence of
> contemporary artistic forms. What new media is entailing in
> connection to artistic expression? Is new media just a tool or an
> art form?
>
> Coming back to Eugenio's point can we associate the "tool" and the
> "art from" or shall we keep them separated?
>
> Teresa
>
>
> ++++++++++++++++
>
>
> Teresa Wagner
> e-mail: t.wagner@unesco.org
> Http://portal.unesco.org/culture
>
> -----Message d'origine-----
> De : yasmin_discussions-bounces@estia.media.uoa.gr
> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de
> Eugenio Tisselli
> Envoy? : jeudi 2 avril 2009 21:22
> ? : yasmin_discussions@estia.media.uoa.gr
> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
> SYSTEMS,AND THE BODY POLITIC
>
>
> Dear Yasminers,
>
> First of all, I would like to thank Ricardo Mbarkho and Roger Malina
> for having me as a respondent in our new topic: "New Media: User's
> Behaviour, Social Systems, and the Body Politic"... I hope that we
> will have an interesting exchange!
>
> I would like to start by adressing one of the main questions that
> Ricardo has proposed: "Are global and local systems two separate
> entities, or is it about one place?" ... for too long, a tendency to
> think about the local and the global as two separate -yet
> interacting- social spaces has prevailed. But what lies in between?
> Do we have to make a quantum leap to travel between those two
> spaces? And where would we "land" if we did the jump from our
> locality into "the global"?
>
> As Bruno Latour proposes in his revealing book "Reassembling the
> social" (by the way, I'm not a sociologist ;), we can "expand
> locally everywhere", provided we can trace the links between
> different localities. The theory of network topology, together with
> interactive visualization technologies, can become valuable tools
> for tracking the myriads of connections in the increasingly complex
> system that our world is becoming. 
>
> Think about your mobile phone for a while: a symbol of the
> globalized practice of ubiquitous communication, and yet an intimate
> and personal object with which you can contact your colleagues or
> reach your loved ones... whether they are physically near or far.
> Your mobile phone turns you into a moving communications hub, a tool
> for invoking dispersed localities and bringing them into your own.
> But think also about the thing itself: the screen, the plastic case,
> the circuits and microchips... where do all these parts come from?
> Components from all around the world, suddenly in the palm of your
> hand. And while mobile phones are being used more and more as tools
> that serve not only for communication in daily life, but also as
> media in which creative and artistic practices are based, they are
> also the direct cause of many conflicts which (seem to) happen "out
> there", in the "global space". If we trace the route which ends in
> the palm of our hands, between
> the  circuits in our mob!
> ile phones, we will almost certainly find its origin in Central
> Africa, where brutal wars are being financed greatly through the
> exploitation of Coltan, a metallic ore mined mostly in Congo which
> has become an indispensable material for the manufacturing of
> consumer electronics... such as our phone.
>
> Viewing "the local" and "the global" as two separate entities tends
> to obscure the links, routes and connections that we must be aware
> of, if we want to make a more humane, rational and respectful usage
> of technology, or of consumer products in general. We should be able
> track the far-away localities from which our own local things come
> from; otherwise, we will find ourselves blinded by the distance.
> Quoting Latour, "... this tracking may end up in a shared definition
> of a common world"... sounds like it might be worth giving it a try!
> But how do we start?
>
> Looking forward to hearing from you all...
>
> Best wishes,
> Eugenio.
>
>
>
>
>
>
>
> Eugenio Tisselli V?lez
> cubo23@yahoo.com
> http://www.motorhueso.net
>
>
>       ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el
> nuevo Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>
>
> ------------------------------
>
> Message: 7
> Date: Fri, 3 Apr 2009 04:43:24 -0700 (PDT)
> From: Ricardo Mbarkho <ricardombarkho@yahoo.com>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <914923.74169.qm@web62101.mail.re1.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
> Hi Eugenio and all,
>
>
> As I read your message, I see you prefer to see the world as an
> interconnected nodes system rather then a world divided into two
> abstract layers (global and local).
>
> It often happened that people shut down their mobiles on a same
> specific day to protest against the high prices of communication.
> This kind of local pressure on the phone companies never reached end
> results until it entered the government agenda. For instance Lebanon
> was one of the most expensive countries in term of mobile
> communication. Now things are changing due to the Ministry recent
> move to lower the prices. If people on earth start to shut down
> their mobile phones as social action against wars, the United Nation
> and maybe the NATO would do something for Congo... This would sound
> unrealistic; if like we?re going to stop circulating and stop using
> fuel to solve the Iraq conflict??However, art that operates as a
> feedback to mirror the absurdity of the artist's environment often
> questions the misuse of power; for instance, the work of the
> Electronic Disturbance Theater?use?the power of mass connections to
> scramble a political attitude;
> http://www.thing.net/~rdom/ecd/ecd.html. Similar strategies were
> applied to block the Echelon surveillance project?
>
> Indeed we should look ?how do we start?? as you said. Can one?of
> the?fast and effective ways?be from up to bottom, from governments
> to people, as long as changes are in the good sens of human rights?
> The dispersed but connected localities reflect the federalism. It?s
> a way for people to avoid a total dissolution into a single global
> world, and on the other hand, to also avoid the total isolation. But
> here again we need to know what is local? Nodes as countries,
> nations, communities, couples, individuals, etc??
>
> I think about?Stephen Hawking?s saying that in order to avoid
> failure as mankind, we should keep talking. Talking as nodes? link,
> but also talking as a solution by itself to ?start with?. This is
> also doable?
>
> Best,
> Ricardo
>
>
>
> Footnote
> ---------------
> Topic: This running discussion deals with how (new) media can affect
> local behaviours related to creativity and innovation within a
> socio-political context, and what is the link between politic and
> the ways that users behave.
> Questions that are raised include:
> - Is (new) media a tool which reinforces people's creativity and how
> it is expressed in terms of social behaviour?
> - How are democracy and social connectivity via new media related?
> - Are global and local systems two separate entities, or is it about
> one place?
> - What is the impact of the media content on identity in your
> socio-politic sphere?
> - How is the economy affecting visual forms of communication?
> - Do artworks emerge from a specific Intention or from media models
> constrained by business requirements?
> - What new roles do virtual social networks adopt to maintain
> difficult relations?
>
>
>
>
>
> ?
>
>
>
> ________________________________
> From: Eugenio Tisselli <cubo23@yahoo.com>
> To: yasmin_discussions@estia.media.uoa.gr
> Sent: Thursday, April 2, 2009 10:22:17 PM
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR,
> SOCIAL SYSTEMS, AND THE BODY POLITIC
>
>
> Dear Yasminers,
>
> First of all, I would like to thank Ricardo Mbarkho and Roger Malina
> for having me as a respondent in our new topic: "New Media: User's
> Behaviour, Social Systems, and the Body Politic"... I hope that we
> will have an interesting exchange!
>
> I would like to start by adressing one of the main questions that
> Ricardo has proposed: "Are global and local systems two separate
> entities, or is it about one place?" ... for too long, a tendency to
> think about the local and the global as two separate -yet
> interacting- social spaces has prevailed. But what lies in between?
> Do we have to make a quantum leap to travel between those two
> spaces? And where would we "land" if we did the jump from our
> locality into "the global"?
>
> As Bruno Latour proposes in his revealing book "Reassembling the
> social" (by the way, I'm not a sociologist ;), we can "expand
> locally everywhere", provided we can trace the links between
> different localities. The theory of network topology, together with
> interactive visualization technologies, can become valuable tools
> for tracking the myriads of connections in the increasingly complex
> system that our world is becoming.?
>
> Think about your mobile phone for a while: a symbol of the
> globalized practice of ubiquitous communication, and yet an intimate
> and personal object with which you can contact your colleagues or
> reach your loved ones... whether they are physically near or far.
> Your mobile phone turns you into a moving communications hub, a tool
> for invoking dispersed localities and bringing them into your own.
> But think also about the thing itself: the screen, the plastic case,
> the circuits and microchips... where do all these parts come from?
> Components from all around the world, suddenly in the palm of your
> hand. And while mobile phones are being used more and more as tools
> that serve not only for communication in daily life, but also as
> media in which creative and artistic practices are based, they are
> also the direct cause of many conflicts which (seem to) happen "out
> there", in the "global space". If we trace the route which ends in
> the palm of our hands, between the
> circuits in our mobile phones, we will almost certainly find its
> origin in Central Africa, where brutal wars are being financed
> greatly through the exploitation of Coltan, a metallic ore mined
> mostly in Congo which has become an indispensable material for the
> manufacturing of consumer electronics... such as our phone.
>
> Viewing "the local" and "the global" as two separate entities tends
> to obscure the links, routes and connections that we must be aware
> of, if we want to make a more humane, rational and respectful usage
> of technology, or of consumer products in general. We should be able
> track the far-away localities from which our own local things come
> from; otherwise, we will find ourselves blinded by the distance.
> Quoting Latour, "... this tracking may end up in a shared definition
> of a common world"... sounds like it might be worth giving it a try!
> But how do we start?
>
> Looking forward to hearing from you all...
>
> Best wishes,
> Eugenio.
>
>
>
>
>
>
>
> Eugenio Tisselli V?lez
> cubo23@yahoo.com
> http://www.motorhueso.net
>
>
> ? ? ? ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el
> nuevo Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>
>      
>
> ------------------------------
>
> Message: 8
> Date: Fri, 3 Apr 2009 08:32:01 -0700 (PDT)
> From: Ricardo Mbarkho <ricardombarkho@yahoo.com>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <600051.23153.qm@web62108.mail.re1.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
> Hi Tereza and all,
>
> Your inputs linked Eugenio?s points to this question: ?has new media
> created a new art or has it created a new artistic expression??
>
> I would like to point here on an observation I have on the Lebanese
> setting that has more to do with people's creativity. I?ve been
> noticing how new media is changing the social behaviour:
>
> Not only was the Lebanese satellite dish era a turning point in the
> local social behaviour, but so were the SMS and mobile phone eras. A
> 60-year-old citizen sitting on the balcony, observing and even
> supervising the activities taking place in the street below,
> noticing the tiny changes and micro-events happening here and there
> has now a new favourite place at home: the sofa in front of the TV
> set with the wide choice of satellite channels, or in the Lebanese
> (literal) terms ?sitting in front of the ?Dish? ?. The large variety
> of channels offered this person a new way to spend his spare time.
> This citizen needs to find ways to fill the emptiness of what is
> left of his life: what remains after their spouse?s death, their
> children?s marriage, their children?s trips abroad for work or
> study; what remains after his role of telling stories and leading
> discussions in the family is eclipsed and defeated by new technology.
> This citizen is convinced that studying in Lebanon is good, but not
> good enough, and that working in Lebanon is also fine but not always
> available and secure because of the unstable security and economic
> atmosphere. Thus, young people leave Lebanon for good in order to
> seek stability, security, and a better future for their children.
> They seek a second nationality; a sort of social security paper that
> would enable them to be evacuated from the country should another
> war start again.
>
> Then the parents of these young people start to enjoy the multitude
> of channels? the hundreds, even thousands of channels! They discover
> how lively zapping can be. They become zappers. They are no longer
> desperate Lebanese. They wake up in the morning and start zapping.
> The remote control has become their favourite tool; even though they
> do not necessarily know how to fully use its features, they are at
> least able to locate the channel and volume buttons. These two
> buttons fill their spare time occupation, zapping: a tool of energy
> for life. Having become advanced zappers, they have discovered that
> they can zap whenever they feel bored. Zapping, thus, has become a
> means to escape boredom, control the media, and react against the
> passivity associated with TV. As such, they keep zapping and only
> stop for a short while to watch what seems to be interesting
> fragments to them. They enjoy these ?peak points? which connect them
> to life. Each peak point is
> a link followed by the search for another peak point. However,
> there is a red alert when the next link happens to be very distant.
>
> This creates mutual business between the viewer and the broadcasting
> company because the moving images are coherently constructing a new
> edited meaning by the viewer: the broadcasting company has to
> provide interesting quality content and the viewer has to hunt them.
> Hence, this adds the new role of hunting to zapping.
>
> If art questions the social attitudes, zapping is one of the things
> to deal with. But is zapping a creative action, an expression, a
> real time editing, a ?TVJaying??
>
> ?
>
>
> Footnote
> ---------------
> Our topic:
> This running discussion deals with how (new) media can affect local
> behaviours related to creativity and innovation within a
> socio-political context, and what is the link between politic and
> the ways that users behave.
>
> Questions that are raised include:
> - Is (new) media a tool which reinforces people's creativity and how
> it is expressed in terms of social behaviour?
> - What new media is entailing in connection to artistic expression?
> Is new media just a tool or an art form?
> - How are democracy and social connectivity via new media related?
> - Are global and local systems two separate entities, or is it about
> one place?
> - What is the impact of the media content on identity in your
> socio-politic sphere?
> - How is the economy affecting visual forms of communication?
> - Do artworks emerge from a specific Intention or from media models
> constrained by business requirements?
> - What new roles do virtual social networks adopt to maintain
> difficult relations?
>
>
>
>
>
> ?
>
>
>
>
>
> ________________________________
> From: "Wagner, Teresa" <T.Wagner@unesco.org>
> To: cubo23@yahoo.com; YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Sent: Friday, April 3, 2009 11:59:00 AM
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR,
> SOCIAL SYSTEMS, AND THE BODY POLITIC
>
>
> Dear Yasminers and friends,
>
> Allow me first of all to thank Ricardo and Roger for inviting me to
> participate in your discussions.
>
> I would like to link the very interesting point made by Eugienio,
> which opens a one month discussion about the impact of new media on
> social behaviour and creativity, to the creative experience. He
> explains how the new media brings local into global and vice versa.?
> I would like to apply his statement to creativity and put on a new
> question: has new media created a new art or has it created a new
> artistic expression?
>
> In other terms my point is whether new media is a powerful tool for
> creativity in different art fields or whether it has introduced new
> concepts and new ideas which had permitted the emersion of a new
> form of art.
>
> Generally speaking if we look back to the art history we know (as
> defined by J. Ranci?re) that in the 19th century fine arts had a
> representative "scope". Creativity kept on serving that aim. In the
> 20th century art moved towards expressivity. With the introduction
> of new media in the 60' something else has raised.? P. Weibel thinks
> that digital image has changed man's conception. Movement, speed,
> transformation, etc.? are considered as the main essence of
> contemporary artistic forms. What new media is entailing in
> connection to artistic expression? Is new media just a tool or an
> art form?
>
> Coming back to Eugenio's point can we associate the "tool" and the
> "art from" or shall we keep them separated?
>
> Teresa
>
>
> ++++++++++++++++
>
>
> Teresa Wagner
> e-mail: t.wagner@unesco.org
> Http://portal.unesco.org/culture
>
> -----Message d'origine-----
> De : yasmin_discussions-bounces@estia.media.uoa.gr
> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de
> Eugenio Tisselli
> Envoy? : jeudi 2 avril 2009 21:22
> ? : yasmin_discussions@estia.media.uoa.gr
> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
> SYSTEMS,AND THE BODY POLITIC
>
>
> Dear Yasminers,
>
> First of all, I would like to thank Ricardo Mbarkho and Roger Malina
> for having me as a respondent in our new topic: "New Media: User's
> Behaviour, Social Systems, and the Body Politic"... I hope that we
> will have an interesting exchange!
>
> I would like to start by adressing one of the main questions that
> Ricardo has proposed: "Are global and local systems two separate
> entities, or is it about one place?" ... for too long, a tendency to
> think about the local and the global as two separate -yet
> interacting- social spaces has prevailed. But what lies in between?
> Do we have to make a quantum leap to travel between those two
> spaces? And where would we "land" if we did the jump from our
> locality into "the global"?
>
> As Bruno Latour proposes in his revealing book "Reassembling the
> social" (by the way, I'm not a sociologist ;), we can "expand
> locally everywhere", provided we can trace the links between
> different localities. The theory of network topology, together with
> interactive visualization technologies, can become valuable tools
> for tracking the myriads of connections in the increasingly complex
> system that our world is becoming.?
>
> Think about your mobile phone for a while: a symbol of the
> globalized practice of ubiquitous communication, and yet an intimate
> and personal object with which you can contact your colleagues or
> reach your loved ones... whether they are physically near or far.
> Your mobile phone turns you into a moving communications hub, a tool
> for invoking dispersed localities and bringing them into your own.
> But think also about the thing itself: the screen, the plastic case,
> the circuits and microchips... where do all these parts come from?
> Components from all around the world, suddenly in the palm of your
> hand. And while mobile phones are being used more and more as tools
> that serve not only for communication in daily life, but also as
> media in which creative and artistic practices are based, they are
> also the direct cause of many conflicts which (seem to) happen "out
> there", in the "global space". If we trace the route which ends in
> the palm of our hands, between
> the? circuits in our mobile phones, we will almost certainly find
> its origin in Central Africa, where brutal wars are being financed
> greatly through the exploitation of Coltan, a metallic ore mined
> mostly in Congo which has become an indispensable material for the
> manufacturing of consumer electronics... such as our phone.
>
> Viewing "the local" and "the global" as two separate entities tends
> to obscure the links, routes and connections that we must be aware
> of, if we want to make a more humane, rational and respectful usage
> of technology, or of consumer products in general. We should be able
> track the far-away localities from which our own local things come
> from; otherwise, we will find ourselves blinded by the distance.
> Quoting Latour, "... this tracking may end up in a shared definition
> of a common world"... sounds like it might be worth giving it a try!
> But how do we start?
>
> Looking forward to hearing from you all...
>
> Best wishes,
> Eugenio.
>
>
>
>
>
>
>
> Eugenio Tisselli V?lez
> cubo23@yahoo.com
> http://www.motorhueso.net
>
>
> ? ? ? ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el
> nuevo Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>
>
>      
>
> ------------------------------
>
> Message: 9
> Date: Fri, 3 Apr 2009 18:01:15 +0200
> From: "Wagner, Teresa" <T.Wagner@unesco.org>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS,    AND THE BODY POLITIC
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
>    
> <475718613147B44682976AF45D6FD3450A225C5F@MAILSERVER-01.hq.int.unesco.org>
>    
> Content-Type: text/plain;    charset="iso-8859-1"
>
>
> I've got your point; Zapping is a way to escape from real live,
> which is always good but not sufficient to escape from being bored.
> Do people young or old are expected to experience they creativity
> when zapping?    Don't you think that at the end all these hundred
> of channels are much of the same?
>
>
> -----Message d'origine-----
> De : yasmin_discussions-bounces@estia.media.uoa.gr
> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de
> Ricardo Mbarkho
> Envoy? : vendredi 3 avril 2009 17:32
> ? : YASMIN DISCUSSIONS
> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
> SYSTEMS,AND THE BODY POLITIC
>
> Hi Tereza and all,
>
> Your inputs linked Eugenio's points to this question: "has new media
> created a new art or has it created a new artistic expression?"
>
> I would like to point here on an observation I have on the Lebanese
> setting that has more to do with people's creativity. I've been
> noticing how new media is changing the social behaviour:
>
> Not only was the Lebanese satellite dish era a turning point in the
> local social behaviour, but so were the SMS and mobile phone eras. A
> 60-year-old citizen sitting on the balcony, observing and even
> supervising the activities taking place in the street below,
> noticing the tiny changes and micro-events happening here and there
> has now a new favourite place at home: the sofa in front of the TV
> set with the wide choice of satellite channels, or in the Lebanese
> (literal) terms "sitting in front of the 'Dish' ". The large variety
> of channels offered this person a new way to spend his spare time.
> This citizen needs to find ways to fill the emptiness of what is
> left of his life: what remains after their spouse's death, their
> children's marriage, their children's trips abroad for work or
> study; what remains after his role of telling stories and leading
> discussions in the family is eclipsed and defeated by new technology.
> This citizen is convinced that studying in Lebanon is good, but not
> good enough, and that working in Lebanon is also fine but not always
> available and secure because of the unstable security and economic
> atmosphere. Thus, young people leave Lebanon for good in order to
> seek stability, security, and a better future for their children.
> They seek a second nationality; a sort of social security paper that
> would enable them to be evacuated from the country should another
> war start again.
>
> Then the parents of these young people start to enjoy the multitude
> of channels... the hundreds, even thousands of channels! They
> discover how lively zapping can be. They become zappers. They are no
> longer desperate Lebanese. They wake up in the morning and start
> zapping. The remote control has become their favourite tool; even
> though they do not necessarily know how to fully use its features,
> they are at least able to locate the channel and volume buttons.
> These two buttons fill their spare time occupation, zapping: a tool
> of energy for life. Having become advanced zappers, they have
> discovered that they can zap whenever they feel bored. Zapping,
> thus, has become a means to escape boredom, control the media, and
> react against the passivity associated with TV. As such, they keep
> zapping and only stop for a short while to watch what seems to be
> interesting fragments to them. They enjoy these 'peak points' which
> connect them to life. Each peak point is  a
> link followed by the !
> search for another peak point. However, there is a red alert when
> the next link happens to be very distant.
>
> This creates mutual business between the viewer and the broadcasting
> company because the moving images are coherently constructing a new
> edited meaning by the viewer: the broadcasting company has to
> provide interesting quality content and the viewer has to hunt them.
> Hence, this adds the new role of hunting to zapping.
>
> If art questions the social attitudes, zapping is one of the things
> to deal with. But is zapping a creative action, an expression, a
> real time editing, a "TVJaying"?
>
> ?
>
>
> Footnote
> ---------------
> Our topic:
> This running discussion deals with how (new) media can affect local
> behaviours related to creativity and innovation within a
> socio-political context, and what is the link between politic and
> the ways that users behave.
>
> Questions that are raised include:
> - Is (new) media a tool which reinforces people's creativity and how
> it is expressed in terms of social behaviour?
> - What new media is entailing in connection to artistic expression?
> Is new media just a tool or an art form?
> - How are democracy and social connectivity via new media related?
> - Are global and local systems two separate entities, or is it about
> one place?
> - What is the impact of the media content on identity in your
> socio-politic sphere?
> - How is the economy affecting visual forms of communication?
> - Do artworks emerge from a specific Intention or from media models
> constrained by business requirements?
> - What new roles do virtual social networks adopt to maintain
> difficult relations?
>
>
>
>
>
> ?
>
>
>
>
>
> ________________________________
> From: "Wagner, Teresa" <T.Wagner@unesco.org>
> To: cubo23@yahoo.com; YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Sent: Friday, April 3, 2009 11:59:00 AM
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR,
> SOCIAL SYSTEMS, AND THE BODY POLITIC
>
>
> Dear Yasminers and friends,
>
> Allow me first of all to thank Ricardo and Roger for inviting me to
> participate in your discussions.
>
> I would like to link the very interesting point made by Eugienio,
> which opens a one month discussion about the impact of new media on
> social behaviour and creativity, to the creative experience. He
> explains how the new media brings local into global and vice versa.?
> I would like to apply his statement to creativity and put on a new
> question: has new media created a new art or has it created a new
> artistic expression?
>
> In other terms my point is whether new media is a powerful tool for
> creativity in different art fields or whether it has introduced new
> concepts and new ideas which had permitted the emersion of a new
> form of art.
>
> Generally speaking if we look back to the art history we know (as
> defined by J. Ranci?re) that in the 19th century fine arts had a
> representative "scope". Creativity kept on serving that aim. In the
> 20th century art moved towards expressivity. With the introduction
> of new media in the 60' something else has raised.? P. Weibel thinks
> that digital image has changed man's conception. Movement, speed,
> transformation, etc.? are considered as the main essence of
> contemporary artistic forms. What new media is entailing in
> connection to artistic expression? Is new media just a tool or an
> art form?
>
> Coming back to Eugenio's point can we associate the "tool" and the
> "art from" or shall we keep them separated?
>
> Teresa
>
>
> ++++++++++++++++
>
>
> Teresa Wagner
> e-mail: t.wagner@unesco.org
> Http://portal.unesco.org/culture
>
> -----Message d'origine-----
> De : yasmin_discussions-bounces@estia.media.uoa.gr
> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de
> Eugenio Tisselli Envoy? : jeudi 2 avril 2009 21:22 ? :
> yasmin_discussions@estia.media.uoa.gr
> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
> SYSTEMS,AND THE BODY POLITIC
>
>
> Dear Yasminers,
>
> First of all, I would like to thank Ricardo Mbarkho and Roger Malina
> for having me as a respondent in our new topic: "New Media: User's
> Behaviour, Social Systems, and the Body Politic"... I hope that we
> will have an interesting exchange!
>
> I would like to start by adressing one of the main questions that
> Ricardo has proposed: "Are global and local systems two separate
> entities, or is it about one place?" ... for too long, a tendency to
> think about the local and the global as two separate -yet
> interacting- social spaces has prevailed. But what lies in between?
> Do we have to make a quantum leap to travel between those two
> spaces? And where would we "land" if we did the jump from our
> locality into "the global"?
>
> As Bruno Latour proposes in his revealing book "Reassembling the
> social" (by the way, I'm not a sociologist ;), we can "expand
> locally everywhere", provided we can trace the links between
> different localities. The theory of network topology, together with
> interactive visualization technologies, can become valuable tools
> for tracking the myriads of connections in the increasingly complex
> system that our world is becoming.?
>
> Think about your mobile phone for a while: a symbol of the
> globalized practice of ubiquitous communication, and yet an intimate
> and personal object with which you can contact your colleagues or
> reach your loved ones... whether they are physically near or far.
> Your mobile phone turns you into a moving communications hub, a tool
> for invoking dispersed localities and bringing them into your own.
> But think also about the thing itself: the screen, the plastic case,
> the circuits and microchips... where do all these parts come from?
> Components from all around the world, suddenly in the palm of your
> hand. And while mobile phones are being used more and more as tools
> that serve not only for communication in daily life, but also as
> media in which creative and artistic practices are based, they are
> also the direct cause of many conflicts which (seem to) happen "out
> there", in the "global space". If we trace the route which ends in
> the palm of our hands, between 
> the? circuits in our mo!
> bile phones, we will almost certainly find its origin in Central
> Africa, where brutal wars are being financed greatly through the
> exploitation of Coltan, a metallic ore mined mostly in Congo which
> has become an indispensable material for the manufacturing of
> consumer electronics... such as our phone.
>
> Viewing "the local" and "the global" as two separate entities tends
> to obscure the links, routes and connections that we must be aware
> of, if we want to make a more humane, rational and respectful usage
> of technology, or of consumer products in general. We should be able
> track the far-away localities from which our own local things come
> from; otherwise, we will find ourselves blinded by the distance.
> Quoting Latour, "... this tracking may end up in a shared definition
> of a common world"... sounds like it might be worth giving it a try!
> But how do we start?
>
> Looking forward to hearing from you all...
>
> Best wishes,
> Eugenio.
>
>
>
>
>
>
>
> Eugenio Tisselli V?lez
> cubo23@yahoo.com
> http://www.motorhueso.net
>
>
> ? ? ? ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el
> nuevo Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>
>
>      
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>
>
> ------------------------------
>
> Message: 10
> Date: Fri, 03 Apr 2009 19:31:29 +0200
> From: Philippe Baudelot <baudelot@wanadoo.fr>
> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>     SYSTEMS, AND THE BODY POLITIC
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <C5FC1491.2DAC%baudelot@wanadoo.fr>
> Content-Type: text/plain;    charset="ISO-8859-1"
>
>
> Hi all,
>
> Zapping is probably not creative. But, some studies shows that people who
> are zapping compulsives, most of the time have decoded narratives and
> inconics systems of most of tv "products". They know what will happen in a
> TV show (or serie por anything else) after seeing only a few seconds of it.
> It why they zap program by program and they can describe precisely what they
> after having seen simultaneously 10 (some times more) programs. They have a
> look on the screen only to be sure that their previous hypothesis about what
> could happen are the good ones. Obviously, it is not a creative behavior but
> it is not a stupid and passive one. It show that some people know TV systems
> so much that they can only play with very quick deductions. They do not like
> TV, they like unconsciously to be more clever than it.
>
> Le 03/04/09 18:01, ??Wagner, Teresa?? <T.Wagner@unesco.org> a ?crit?:
>
>>
>>
>>   I've got your point; Zapping is a way to escape from real live, which is
>> always good but not sufficient to escape from being bored. Do
>> people young or
>> old are expected to experience they creativity when zapping?    Don't you
>> think that at the end all these hundred of channels are much of the same?
>>
>>
>> -----Message d'origine-----
>> De : yasmin_discussions-bounces@estia.media.uoa.gr
>> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de Ricardo
>> Mbarkho
>> Envoy? : vendredi 3 avril 2009 17:32
>> ? : YASMIN DISCUSSIONS
>> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>> SYSTEMS,AND THE BODY POLITIC
>>
>> Hi Tereza and all,
>>
>> Your inputs linked Eugenio's points to this question: "has new
>> media created a
>> new art or has it created a new artistic expression?"
>>
>> I would like to point here on an observation I have on the Lebanese setting
>> that has more to do with people's creativity. I've been noticing
>> how new media
>> is changing the social behaviour:
>>
>> Not only was the Lebanese satellite dish era a turning point in the local
>> social behaviour, but so were the SMS and mobile phone eras. A 60-year-old
>> citizen sitting on the balcony, observing and even supervising the
>> activities
>> taking place in the street below, noticing the tiny changes and micro-events
>> happening here and there has now a new favourite place at home: the sofa in
>> front of the TV set with the wide choice of satellite channels, or in the
>> Lebanese (literal) terms "sitting in front of the 'Dish' ". The
>> large variety
>> of channels offered this person a new way to spend his spare time. This
>> citizen needs to find ways to fill the emptiness of what is left of
>> his life:
>> what remains after their spouse's death, their children's marriage, their
>> children's trips abroad for work or study; what remains after his role of
>> telling stories and leading discussions in the family is eclipsed
>> and defeated
>> by new technology.
>> This citizen is convinced that studying in Lebanon is good, but not good
>> enough, and that working in Lebanon is also fine but not always
>> available and
>> secure because of the unstable security and economic atmosphere. Thus, young
>> people leave Lebanon for good in order to seek stability, security, and a
>> better future for their children. They seek a second nationality; a sort of
>> social security paper that would enable them to be evacuated from
>> the country
>> should another war start again.
>>
>> Then the parents of these young people start to enjoy the multitude of
>> channels... the hundreds, even thousands of channels! They discover
>> how lively
>> zapping can be. They become zappers. They are no longer desperate Lebanese.
>> They wake up in the morning and start zapping. The remote control has become
>> their favourite tool; even though they do not necessarily know how to fully
>> use its features, they are at least able to locate the channel and volume
>> buttons. These two buttons fill their spare time occupation, zapping: a tool
>> of energy for life. Having become advanced zappers, they have
>> discovered that
>> they can zap whenever they feel bored. Zapping, thus, has become a means to
>> escape boredom, control the media, and react against the passivity
>> associated
>> with TV. As such, they keep zapping and only stop for a short while to watch
>> what seems to be interesting fragments to them. They enjoy these
>> 'peak points'
>> which connect them to life. Each peak point is  a link followed by
>> the search
>> for another peak point. However, there is a red alert when the next link
>> happens to be very distant.
>>
>> This creates mutual business between the viewer and the broadcasting company
>> because the moving images are coherently constructing a new edited
>> meaning by
>> the viewer: the broadcasting company has to provide interesting quality
>> content and the viewer has to hunt them. Hence, this adds the new role of
>> hunting to zapping.
>>
>> If art questions the social attitudes, zapping is one of the things to deal
>> with. But is zapping a creative action, an expression, a real time
>> editing, a
>> "TVJaying"?
>>
>> ?
>>
>>
>> Footnote
>> ---------------
>> Our topic:
>> This running discussion deals with how (new) media can affect local
>> behaviours
>> related to creativity and innovation within a socio-political context, and
>> what is the link between politic and the ways that users behave.
>>
>> Questions that are raised include:
>> - Is (new) media a tool which reinforces people's creativity and how it is
>> expressed in terms of social behaviour?
>> - What new media is entailing in connection to artistic expression? Is new
>> media just a tool or an art form?
>> - How are democracy and social connectivity via new media related?
>> - Are global and local systems two separate entities, or is it about one
>> place?
>> - What is the impact of the media content on identity in your socio-politic
>> sphere?
>> - How is the economy affecting visual forms of communication?
>> - Do artworks emerge from a specific Intention or from media models
>> constrained by business requirements?
>> - What new roles do virtual social networks adopt to maintain difficult
>> relations?
>>
>>
>>
>>
>>
>> ?
>>
>>
>>
>>
>>
>> ________________________________
>> From: "Wagner, Teresa" <T.Wagner@unesco.org>
>> To: cubo23@yahoo.com; YASMIN DISCUSSIONS
>> <yasmin_discussions@estia.media.uoa.gr>
>> Sent: Friday, April 3, 2009 11:59:00 AM
>> Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR,
>> SOCIAL SYSTEMS,
>> AND THE BODY POLITIC
>>
>>
>> Dear Yasminers and friends,
>>
>> Allow me first of all to thank Ricardo and Roger for inviting me to
>> participate in your discussions.
>>
>> I would like to link the very interesting point made by Eugienio,
>> which opens
>> a one month discussion about the impact of new media on social behaviour and
>> creativity, to the creative experience. He explains how the new media brings
>> local into global and vice versa.? I would like to apply his statement to
>> creativity and put on a new question: has new media created a new art or has
>> it created a new artistic expression?
>>
>> In other terms my point is whether new media is a powerful tool for
>> creativity
>> in different art fields or whether it has introduced new concepts and new
>> ideas which had permitted the emersion of a new form of art.
>>
>> Generally speaking if we look back to the art history we know (as defined by
>> J. Ranci?re) that in the 19th century fine arts had a
>> representative "scope".
>> Creativity kept on serving that aim. In the 20th century art moved towards
>> expressivity. With the introduction of new media in the 60'
>> something else has
>> raised.? P. Weibel thinks that digital image has changed man's conception.
>> Movement, speed, transformation, etc.? are considered as the main essence of
>> contemporary artistic forms. What new media is entailing in connection to
>> artistic expression? Is new media just a tool or an art form?
>>
>> Coming back to Eugenio's point can we associate the "tool" and the
>> "art from"
>> or shall we keep them separated?
>>
>> Teresa
>>
>>
>> ++++++++++++++++
>>
>>
>> Teresa Wagner
>> e-mail: t.wagner@unesco.org
>> Http://portal.unesco.org/culture
>>
>> -----Message d'origine-----
>> De : yasmin_discussions-bounces@estia.media.uoa.gr
>> [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de Eugenio
>> Tisselli Envoy? : jeudi 2 avril 2009 21:22 ? :
>> yasmin_discussions@estia.media.uoa.gr
>> Objet : Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL
>> SYSTEMS,AND THE BODY POLITIC
>>
>>
>> Dear Yasminers,
>>
>> First of all, I would like to thank Ricardo Mbarkho and Roger Malina for
>> having me as a respondent in our new topic: "New Media: User's Behaviour,
>> Social Systems, and the Body Politic"... I hope that we will have an
>> interesting exchange!
>>
>> I would like to start by adressing one of the main questions that
>> Ricardo has
>> proposed: "Are global and local systems two separate entities, or
>> is it about
>> one place?" ... for too long, a tendency to think about the local and the
>> global as two separate -yet interacting- social spaces has
>> prevailed. But what
>> lies in between? Do we have to make a quantum leap to travel
>> between those two
>> spaces? And where would we "land" if we did the jump from our locality into
>> "the global"?
>>
>> As Bruno Latour proposes in his revealing book "Reassembling the social" (by
>> the way, I'm not a sociologist ;), we can "expand locally everywhere",
>> provided we can trace the links between different localities. The theory of
>> network topology, together with interactive visualization technologies, can
>> become valuable tools for tracking the myriads of connections in the
>> increasingly complex system that our world is becoming.?
>>
>> Think about your mobile phone for a while: a symbol of the
>> globalized practice
>> of ubiquitous communication, and yet an intimate and personal object with
>> which you can contact your colleagues or reach your loved ones...
>> whether they
>> are physically near or far. Your mobile phone turns you into a moving
>> communications hub, a tool for invoking dispersed localities and
>> bringing them
>> into your own. But think also about the thing itself: the screen,
>> the plastic
>> case, the circuits and microchips... where do all these parts come from?
>> Components from all around the world, suddenly in the palm of your hand. And
>> while mobile phones are being used more and more as tools that
>> serve not only
>> for communication in daily life, but also as media in which creative and
>> artistic practices are based, they are also the direct cause of
>> many conflicts
>> which (seem to) happen "out there", in the "global space". If we trace the
>> route which ends in the palm of our hands, between  the? circuits in our
>> mobile phones, we will almost certainly find its origin in Central Africa,
>> where brutal wars are being financed greatly through the exploitation of
>> Coltan, a metallic ore mined mostly in Congo which has become an
>> indispensable
>> material for the manufacturing of consumer electronics... such as our phone.
>>
>> Viewing "the local" and "the global" as two separate entities tends
>> to obscure
>> the links, routes and connections that we must be aware of, if we
>> want to make
>> a more humane, rational and respectful usage of technology, or of consumer
>> products in general. We should be able track the far-away localities from
>> which our own local things come from; otherwise, we will find ourselves
>> blinded by the distance. Quoting Latour, "... this tracking may end up in a
>> shared definition of a common world"... sounds like it might be worth giving
>> it a try! But how do we start?
>>
>> Looking forward to hearing from you all...
>>
>> Best wishes,
>> Eugenio.
>>
>>
>>
>>
>>
>>
>>
>> Eugenio Tisselli V?lez
>> cubo23@yahoo.com
>> http://www.motorhueso.net
>>
>>
>> ? ? ? ?Obt?n la mejor experiencia en la web!&lt; Descarga gratis el nuevo
>> Internet Explorer 8. http://downloads.yahoo.com/ieak8/?l=e1
>>
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