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This is an old revision of DigitalCultureBJR made by BonnieRobinson on 2018-03-08 07:44:27.

 

//Seeing Ourselves Through Technology// by Jill Walker Rettberg
Notes:
*Worth noting right away that Rettberg's book is open source - licensed through Creative Commons, available as a free download. Like Isaac Newton (see Green's article) dissecting a dolphin for the public audience at the coffee shop,Rettberg is splitting open the world of technology and its impacts on humans for the public to see.

*FOUND a GEM in the acknowledgements section of this book!!! Rettberg writes, "And thank you to everyone at The
Wormhole Coffee for providing a writing environment where you can sip
an excellent coffee with a dragon pattern on top for hours surrounded by
other diligently typing people all in a time-travel themed environment." Awesome connection to this project!"
The Wormhole Coffee is in Chicago. It's decorated in pop culture throughout the ages. This ties in to the early thematic coffee houses of London.

Rettberg details the historical heritage of the blog. The blog is a descendant of the diaries of the past and like the diaries of the past, some are more self-reflective than others. Print is the earliest form of self-representation, followed by visual. Self-portraits became popular in the 18th century. On page 8 she discusses the grey area between self-portraits and performance art.

Interesting section about the expectations of this digital community - the Cultural norms - "People who just watched and
read and didn’t participate were given the derogatory term
lurker
, and it
was clear that the expectation was active participation. Seeing yourself
as a peer communicating with others was key to your identity online,
Markham wrote: ‘thr" - ough conversations, self and reality are co-created
and sustained’ (1998, 227). We ‘write self into being,’ but to ‘recognize
our own existence in any meaningful way, we must be responded to’
(Markham 2013a)." - page 13 a bit later - "But when we merely
lurk or follow, we position ourselves as traditional readers, as voyeurs, as
an audience – and from this point of view, we analyse the other writer
primarily as a text rather than as a living, breathing human being. "




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