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Top Tech Trends Panel Enlightens Despite Technology Troubles - 7/3/2008

ITALica

"This blog is a pilot. The editorial board of LITA's Information Technology and Libraries would like to create an environment in which readers can discuss each issue of ITAL. We'll ask the authors of the articles to monitor the discussion for a period of time after publication so that you'll have a chance to interact with them, too."

Devices of wonder : from the world in a box to images on a screen / Barbara Maria Stafford and Frances Terpak ; with an object list by Isotta Poggi.

Stafford, Barbara Maria, 1941- . Devices of wonder : from the world in a box to images on a screen / Barbara Maria Stafford and Frances Terpak ; with an object list by Isotta Poggi. 0892365900 (pbk.) series Los Angeles : Getty Research Institute, c2001.
Call#: Fine Arts Library Fine Arts N72.T4 S73 2001

11th Annual LITA National Forum

Technology and Community: Building the Techno Community Library

11th Annual LITA National Forum
October 16-19, 2008
Hilton Netherland Plaza Hotel, Cincinnati, OH

Project Bamboo

Bamboo is a multi-institutional, interdisciplinary, and inter-organizational effort that brings together researchers in arts and humanities, computer scientists, information scientists, librarians, and campus information technologists to tackle the question:

How can we advance arts and humanities research through the development of shared technology services?

MyLifeBits Project - Microsoft BARC Media Presence Group

cf:
SenseCam:
http://research.microsoft.com/sendev/projects/sensecam/?0sr=a

Articles about the MyLifeBits Project and Gordon Bell:
http://www.newscientist.com/article.ns?id=dn3084
http://research.microsoft.com/~gbell/bio.htm
http://www.computerworld.com.au/index.php/id;363346268;pp;1

Annotation

Gordon Bell has a distinguished career in the IT industry. He's also decided to catalogue his life. This brings up interesting questions as to why keep all this stuff? Is there some purpose to being able to forget some or most of it?

Bell is refining his technique to store everything about himself on one terrabyte of data. He wants to get it all on his Dell laptop. He started out motivated by Bill Gates' book and decided to scan all the paper he owned. Co-conspirator Jim Gray helped him set-up a database for searching and archival purposes, but when Jim went sailing and never came back, Bell's quest became personal. Now he captures all web sites he goes to, he wears a sensecam to capture photos whenever light or heat changes (or in timed intervals). He works for Microsoft's research arm and can leverage Microsoft's power to create technology that allows data to be easily retrievable and identifable. He doesn't see it as lifelogging because he doesn't want the information public. One article likens it to "immortality" but rather, it's more like a huge digital scrapbook or time capsule. His laptop is so valuable to him now as a repository of memories, that he doesn't carry it around with him anymore.

Through the lens of forgetting, one should ask if keeping all this data is useful. The technology is more for identifying and retrieving information more than collecting the information. Collection is still a time-consuming and cumbersome process. On top of that, for the information to be retrievable, he has to annotate all of his data. How much of the data will anyone actually access in the future? What are the benefits of the system. Who benefits from the data? He says he doesn't have a problem with persistence -- all of the data should exist in perpitude, but is this a realistic recollection of him as a person?

Performing the Past in Electronic Archives: Interdependencies in the Discursive and Non-discursive Ordering of Institutional Rememberings / Lightfoot

Annotation

The article is interesting for its use of framing human and computer memory and its discussion of email. Using Heiddigger as a synthetic theory, the authors ask what happens to historical consciousness in the time of modern technology? How is the past deployed in the use and archiving of email in corporate settings. Cognitive science subscribes to the notion of memory as a container for memories. We've modeled information technology memory similarly. The term ‘memory’ is used to refer, both literally and figuratively, to a computer’s capacity for storing and accumulating information. BUT authors suggest reframing the concepts of memory to that of a more psychological perspective. (e.g. Edwards & Potter, 1992; Middleton & Edwards, 1990). They suggest that memory occurs while communicating. It is something that speakers perform rather than simply possess. These performances are informed by cultural understandings of what is to be counted as adequate and felicitous recall. Remembering is, then, a social act, a way of accomplishing some activity in the present through invoking the past in an appropriate and skilled manner. Any memory is thus subjective. A truthful memory is one that matches other "proper" versions or if no other version exists, then it follows a certain logic. Technology adds a contextual layer to the memory in its ability to add validity/truth, i.e., documentation. Email serves in this manner as an archiving device. Through analyzing email, the authors attempt to show a non-discursive side to remembering. The authors note that it may look as if they're giving too much weight to the non-discursive form of archiving, but they say that non-discursive and discursive remembering and forgetting are intertwined.

Citation
Lightfoot, Geofrey, Steven D. Brown, and David Middleton. 2001. Performing the Past in Electronic Archives: Interdependencies in the Discursive and Non-discursive Ordering of Institutional Rememberings. Culture & Psychology 7, no. 2:123.

Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing / Bannon

Annotation (2 of 3)

An exploration of forgetting: Bannon showcases several examples which demonstrate that while we don't consciously think about forgetting, not being able to forget severely impacts our ability to move easily through every day life because of the sensory overload. The discussion of collective memory (that is, what a society chooses to remember and pass on to the next generation) has been through the lens of cultural identity and national solidarity (see the work of French sociologist Maurice Halbwachs). The question is: can there be collective forgetting? Bannon posits that collective forgetting occurs when a group, passively or deliberatively, chooses to not carry the past into the future. (wouldn't this rather be the case that the group chooses not to carry forward the present into the future?) Historical conflicts often use forgetting to further a particular perspective or heal wounds. Collective forgetting is both a blessing (allows society to move forward) and a curse (society doomed to repeat history). Justice system employs deliberate forgetting to allow individuals a fresh start. Politically, collective forgetting is amnesty. (discussion of amnesty, blanchette, south Africa)

He continues differentiating individual vs. collective remembering and forgetting, similarities and difference between humans and computers, remembering and forgetting in the age of ubiquitous computing and finally forgetting in design.

Citation full pdf at ebsco megafile
Bannon, Liam J. 2006. Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing. CoDesign 2, no. 1:3-15.

Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing / Bannon

Annotation (3 of 3)

Perhaps we can think of ephemeral technologies, or perhaps more correctly, technologies that support ephemeral events, in distinction to the persistent technologies that are usually envisaged. The ideas presented are very simple and playful, a starter-pack to begin to explore an alternative design space incorporating aspects of forgetting.

One radical idea elaborates a notion of a ‘digital shelter' where various forms of electronic signals are blocked within certain spaces or places, thus allowing people the freedom to chose to be electronically ‘on' or ‘off' (Sepulveda-Sandoval 2001). We could imagine the development of personal ‘sweeper' technologies that would inform us if particular spaces were being bugged, and activities recorded. Similarly, we could imagine the design of electronic ‘jamming' technologies that would hinder the pickup of meaningful signals from particular sites, akin to the current military jamming technologies. We could imagine various kinds of electronic tagging systems for messages or material that could time-stamp material and contain something like a ‘sell-by' date, where the information would self-destruct after the elapsed time, or where the distribution of your original message could be tracked, although the latter idea raises further privacy issues. My point here is not to provide simple technological fixes to what are ultimately societal practices. Rather, the aim is to highlight different design options. We need to explore augmentation means for all human activities, both remembering and forgetting.

Citation full pdf at ebsco megafile
Bannon, Liam J. 2006. Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing. CoDesign 2, no. 1:3-15.

Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing / Bannon

Annotation (1 of 3)

Forgetting is the long forgotten other half when considering the idea of memory. The process has always focused on the ability to remember and given the ability for technologies to support the remembering process, the potential relevance for forgetting should be explored. Bannon discusses forgetting from a variety of disciplinary perspectives and how new technologies could incorporate forgetting into their design space.

Problems with the computer model of memory: Our understanding of the human mind has always been informed by technology. Because the dominant perspective of the human mind has been that of an information-processing device (much like that of a computer), the duality of memory (remembering and forgetting) have been seen as a passive model rather than remembering and forgetting being actions. This perspective reifies human memory, turning it into a thing rather than an active process. While the cognitive sciences frame memory with words like “erasure” and “retrieval”, we’ve known for decades that human memory is not like computer memory. Rather than reproduction, remembering is constructive and reconstructive; it is not exact, nor is it important that it is. (Barlett) Cultural historical psychologists (Soviet Vygotsky) view remembering in the context of activity such that if a memory is used in an activity different than its original context, the memory will be reinterpreted with respect to the new activity and there is no guarantee that the memory is relevant anymore in the same manner that it was when it was stored. (not so useful for my purposes) In the computational framework, forgetting is seen as the simple erasure of memory, or the loss of the link to the memory location. Forgetting is seen as an example of the fragility of the mind whereas computer memory with its indefinite and persistent storage is much better. Thus, forgetting is seen as a negative bug, but Bannon hopes to show how it is a positive feature.

Citation full pdf at ebsco megafile
Bannon, Liam J. 2006. Forgetting as a feature, not a bug: the duality of memory and implications for ubiquitous computing. CoDesign 2, no. 1:3-15.

'Outlines of a world coming into existence': pervasive computing and the ethics of forgetting. / Dodge, Martin, and Rob Kitchin. 2005

Annotation

Dodge & Kitchin explore pervasive computing in regards to surveillance and increasingly sousveillance (capturing data about yourself). They look at the development of life-logs, sociospatial archives that document every action, every event, every conversation, and every material expression of an individual's life and the potential social, political, and ethical implications of machines that never forget. They suggest that given the new possible paradigm, forgetting needs to be incorporated into new technologies. They look to Schacter's modes of forgetting as a basis for creating an ethics of forgetting. They go over the main types of forgetting in Schacter and call for implementing Schacter's models in technological design to create a humane but still useful system. They also champion the idea of incorporating forgetting into architecture (as a kernel) instead of legislating forgetting as a blanket.

Citation
Dodge, Martin, and Rob Kitchin. 2005. 'Outlines of a world coming into existence': pervasive computing and the ethics of forgetting. Environment and Planning B: Planning and Design 34, no. 3:431 - 445.

Useful Void: The Art of Forgetting in the Age of Ubiquitous Computing / Mayer-Schonberger

Annotation

Forgetting is easier to do than remembering. Empirically cultures have tried to preserve memory through devices like books, film, record, etc. However, conservation has always been expensive, thus strict limits are applied as to what to keep. New digital memory is relatively inexpensive and it allows us to store everything, regardless of significance. Also, digital data is easily reproduced and accessed bringing up issues of privacy. Because of this, Mayer-Schonberger sees a shift from discarding to preserving. Is this a good thing? No.

Three conventional responses:

Comprehensive privacy litigation is difficult because lobby groups exert a lot of power but represent only a few, while the masses who would benefit are diffuse and disorganized;
constitutional reinterpretation while potentially valid under the First, Fourth, and implicit "privacy" amendments (first, third, fourth, fifth, ninth, and fourteenth) is difficult to pass and would not regulate private parties only public government;
Null response or inaction can be argued as the best approach if there is no demand for legal action, however, the null response argument is naive when considering political theory's acknowledgment of the difficulty the majority has in transforming its will into law.

Lawrence Lessig proposes a solution that is a combination of law and code, but Mayer-Schonberger finds solution too complex for this focused issue of data retention. Instead, Mayer-Schonberger proposes a simple solution of reinstating forgetting over time through

user-defined storage timelines,
decreasing cookie life,
requiring companies to delete/forget data, including cell phone software, and
limiting sensor data.

Mayer-Schonberger briefly covers the strengths and weaknesses of his plan and summarizes article in the conclusion.

Source citation
Mayer-Schoenberger, Viktor. "Useful Void: The Art of Forgetting in the Age of Ubiquitous Computing." Working Paper RWP07-022, Cambridge, Mass.: John F. Kennedy School of Government, Harvard University, 2007 Apr.

Sunday Morning Science

Existential pleasures of engineering / Samuel C. Florman.

Florman, Samuel C. . Existential pleasures of engineering / Samuel C. Florman. [$7.95 ] New York : St. Martin's Press, c1976.
Call#: Engineering Library T14 .F56

Technology Management - Research Guide

Flamenco : UC Berkeley Architecture Slides

mentioned in peter morville's library2.0 talk at michigan.

ranganathan -> ncsu -> berkeley?

Media access : social and psychological dimensions of new technology use / edited by Erik P. Bucy, John E. Newhagen.

Media access : social and psychological dimensions of new technology use / edited by Erik P. Bucy, John E. Newhagen. [0805841091 ] Mahwah, N.J. : L. Erlbaum, c2004.
Call#: Van Pelt Library P91.28 .M43 2004

In Media Access, John E. Newhagen and Erik P. Bucy discuss what it means to have “access” to the Internet. More than simply being able to sit in front of a computer, Internet access holds several dimensions that demand certain levels of literacy and understanding from its users. The authors utilize a number of self-created terms (“system access,” “content access,” and “social access,” to name a few) that segment Internet usage in ways that I had not previously considered relevant for my purposes. However, their distinctions do provide much useful information for considering how users absorb what comes to them from the computer screen, which seems to fit well with my topic. They also lay out a specific difference between disseminating information from a television screen versus a computer (internet) screen: that internet computer screens allow us to accurately process both text and images through utilization of a higher resolution, which TV and cinema screens have thus far not been able to do. I’m not entirely sure I completely understand what this idea means, and thus I can’t wholly endorse it. But, it does give me a place to start when considering the differences between these two screen cultures.

The above argument also prodded me to consider the Internet’s role in how the screen culture changes from TV/cinema to computer/iPod/PDA/whatever. I had not thoroughly contemplated how it changes the media experience, but it clearly does; it also complicates my two divisions somewhat. You can, for example, have the Internet on your phone and computer, but not on your iPod (yet); but the iPod screen, to me, fits so clearly in with a new media approach to absorbing screen images that I feel compelled to fit it in with computer and phone image absorption. Perhaps, then, I’ll approach a discussion of the Internet’s effect on only certain new screen technologies.

The other aspect of this chapter that I thought I could prove useful was the authors’ discussion of the process of media access. They devote a good portion of the chapter to this concept, outlining both linear and nonlinear accesses and their presence in media. Ultimately, they suggest that linear access fits in with older (read: TV, non-Internet) screen cultures, and a nonlinear, or more engaging, method of media consumption, with new forms of screen technologies. While this simplifies the argument somewhat, it’s useful in a general way to indicate a potentially more active user response in newer media forms, which may in turn hint to a larger difference between viewer engagement with different forms of screen media.

Film Theory for the Digital World: Connecting the Masters to the New Digital Cinema/John Andrew Berton, Jr.

John Andrew Berton, Jr., writes in this article about the application of older film theories to digital cinema. He argues that theories created when cinema first appeared (in the late 1800s-early 1900s) hold some relevance to the technologies currently emerging. The sense of novelty and the display of technicality over creativity can be found in the emergence of both traditional cinema and digital cinema; because the two technologies have found such common ground here, the same theories about the transparency of the technical achievement of the images can be applied to both eras of cinema. The theories he utilizes focus on moving both “new” technologies’ emphases away from technical achievement and towards a more artistic approach and appreciation. Concepts by Melies, Kuleshov, and a few others – which came about a few years after cinema and first arrived, and once its novelty began to wear off – pointed to the need to add artistry and direction to this new technology. Berton wants to apply these concepts to digital cinema, with the reasoning that “history repeats itself”: the emergence of new technologies (at least media ones) tend to follow this similar pattern of awe with the technical nature of the creation that lasts until prodded to turn towards a more content-driven approach.

Berton’s ideas here hold a lot of relevance to my paper because he somewhat suggests that old media and new media perhaps faced similar beginnings. Since we’re more or less now still in the beginning of the new media phase, we’ve been able to experience firsthand if Berton is correct. I think that there was a time when digital media was so new and cool, that anything it created was met with awe and glee. This has worn off now, but I believe this has transferred to a certain extent to new media technologies like the iPod and the cell phone. Pretty much anything you put on an iPod (at least to the younger generation) is cool not because of what you’re watching, but because you’re using the technology. We’re still starting to figure out what movies and clips work best on a 2” portable screen; it’s likely we won’t discover a good answer for awhile. In the meantime, we’re in the pre-theory phase. Melies and Kuleshov don’t yet apply to the iPod (but do, perhaps arguably, to the computer, which is an interesting separation). Thus, Berton’s overall concept can be applied to my paper in a unique and unexpected way.

Screen Narratives

"Screen Narratives" Literature film quarterly [0090-4260] 34.1 (2006). 2-.

Jan Baetens’s article “Screen Narratives” sets out to define the term “screen” and its existence as a construction by the viewer. One definition that he posits is taken from Patrick Maynard, who states that every surface that is marked somehow by some type of sign is a screen. But screens also obscure things as well; Baetens acknowledges this contradiction as an inherent characteristic of a screen. He notes too, perhaps most importantly, that screens cannot be separated from the concept of “looking.” The emphasis on the visual here fits in well with what I want to explore in my paper, and gives me a source that actually looks at the screen itself (as opposed to a technology such as television or computers) and how one potentially interacts with it.

However, one drawback to this approach is precisely that no difference seems to appear between a television screen and a computer screen. Baetens, in endorsing a theory by Anne-Marie Christin as well as his own views (which align rather closely with Christin’s), renders the material aspect of a screen virtually immaterial. I agree that there’s more to a screen than the technology to which it’s tied; but, nonetheless, we do see new technologies through this screen, and thus it has to have something to do with the technology itself. Utilizing Maynard’s definition for his argument may cause some of the problem here, because a screen might constitute more than “a surface with a symbol.” His definition also clearly encompasses more than I’d care to discuss (windows, maps, playing cards, etc.), which enters into metaphorical areas of screen culture and thus guide him even further from any discussion of possible physical connections between screen and culture.

Overall, however, I do like the fact that the theory links screens with visual elements, and with the act of looking at something. This is the only source I have that explicitly examines the concept of a screen, and I think it would provide a good background (and healthy opposition to) my own ideas on what a screen is in different media. His idea of screen-thinking, or a dialogue on thoughts about screen, as a technology whereby several meanings are constructed at once, holds much relevance (and much potential discussion!) for ideas about the place of the screen as a one-way or multiple-way medium of information release.

Media, modernity and technology : the geography of the new / David Morley.

Morley, David, 1949- .Media, modernity and technology : the geography of the new / David Morley. [0415333415 (hbk. : alk. paper) ] London ; New York : Routledge, 2007.
Call#: Van Pelt Library P94.6 .M673 2007

Part Five of David Morley’s book examines the idea of “Techno-anthropology,” or the symbolic meanings of objects in our contemporary world. Morley uses the television as a main example of a modern technology that has come to hold much cultural signification on our everyday lives, and thus devotes a section of his book to explaining how exactly it fits into the world today. He suggests that the television has become somewhat synonymous with home or comfort; though initially a foreign object, it has since redefined the private space and come to hold a more or less sacred place in home culture. Though much of Morley’s discussion here has to do with television in and of itself, he makes a number of points about television that can then be used to discuss its relationship with new media. Also, this chapter points out that the symbolism and meaning of television has changed over time. I’m not sure how to incorporate this into my paper, or if I even need to do so – but I feel that to overlook it might be a mistake. In any case, it should at least be mentioned somewhat, if only to show the evolution of television as compared to new media.

Morley then turns to examining newer media technologies, with the purpose of refuting the concept that with new media comes new social and cultural uses for that media. He argues that while technologies like cell phones and computers do bring with them new ways of consumption, their arrival does not signal the death of traditional social rituals. Living traditions tend to incorporate new technologies rather than become obsolete in the face of media development. This fits with Michele White’s ideas on spectatorship, thus providing a non-traditional viewpoint to help me balance my paper.

That this book focuses very little on a viewer’s actual engagement with the screen prevents this source from becoming a major on for my paper. However, I do think that some of the ideas present here and Morley’s background on the evolution of these technologies can give me some good basic background information, as a foundation for my arguments.

Media access : social and psychological dimensions of new technology use / edited by Erik P. Bucy, John E. Newhagen.

Hand-held visions : the impossible possibilities of community media / DeeDee Halleck ; with a foreword by John Downing.

Halleck, DeeDee. . Hand-held visions : the impossible possibilities of community media / DeeDee Halleck ; with a foreword by John Downing. [0823221008 (hardcover) ] New York : Fordham University Press, 2002.
Call#: Van Pelt Library PN1992.4.H36 A3 2002

not good

sterneworks

LITA wiki

New LITA wiki - not much content yet

Paul Virilio reader / edited by Steve Redhead.

Virilio, Paul. . Paul Virilio reader / edited by Steve Redhead. [0231134827 (cloth) ] New York : Columbia University Press, c2004.
Call#: Van Pelt Library HM846 .V57 2004

Representation in scientific practice / edited by Michael Lynch and Steve Woolgar.

Representation in scientific practice / edited by Michael Lynch and Steve Woolgar. [0262620766 ] Cambridge, Mass. : MIT Press, 1990.
Call#: Van Pelt Library Q222 .R46 1990

cited by Gitelman Scripts Grooves.

JSTOR: MLN: Vol. 105, No. 3, German Issue, p. [583]

Technology Romanticized: Friedrich Kittler's Discourse Networks 1800/1900 by Thomas Sebastian

JSTOR: Critical Inquiry: Vol. 11, No. 1, p. 130

Technopoetics. cited by Gitelman Scripts Grooves

Noise of culture : literary texts in a world of information / William R. Paulson.

Paulson, William R., 1955- . Noise of culture : literary texts in a world of information / William R. Paulson. [0801421020 (alk. paper) ] Ithaca : Cornell University Press, 1988.
Call#: Van Pelt Library PN98.I54 P38 1988

Electrifying America [electronic resource] : social meanings of a new technology, 1880-1940 / David E. Nye.

Nye, David E., 1946- . Electrifying America [electronic resource] : social meanings of a new technology, 1880-1940 / David E. Nye. [0262140489 ] Cambridge, Mass. : MIT Press, c1990.
Call#: -

American technological sublime / David E. Nye.

Nye, David E., 1946- . American technological sublime / David E. Nye. [026214056X : ] Cambridge, Mass. : MIT Press, c1994.
Call#: Van Pelt Library T14.5 .N93 1994

When old technologies were new : thinking about communications in the late nineteenth century / Carolyn Marvin.

Marvin, Carolyn. . When old technologies were new : thinking about communications in the late nineteenth century / Carolyn Marvin. [0195044681 ] New York : Oxford University Press, 1988.
Call#: Van Pelt Library TK18 .M37 1988

Culture of time and space 1880-1918 / Stephen Kern.

Kern, Stephen. . Culture of time and space 1880-1918 / Stephen Kern. [0674179722 ] Cambridge, Mass. : Harvard University Press, 1983.
Call#: Van Pelt Library CB478 .K46 1983

cited by gitelman scripts grooves

Register of arts, or, A compendious view of some of the most useful modern discoveries and inventions / [edited] by Thomas Green Fesssenden.

Register of arts, or, A compendious view of some of the most useful modern discoveries and inventions / [edited] by Thomas Green Fesssenden. Philadelphia : C. and A. Conrad, 1808.
Call#: T47 .R44 1808

Citedy by Gitelman Scripts Grooves. Also in microfilm.

Engineering and the mind's eye / Eugene S. Ferguson.

Ferguson, Eugene S. . Engineering and the mind's eye / Eugene S. Ferguson. [0262061473 ] Cambridge, Mass. : MIT Press, c1992.
Call#: TA145 .F37 1992

Cited by Gitelman Scripts Grooves.

Same author, "The Mind's Eye: Nonverbal Thought in Technology." Science 197 (1977): 827-36.

Net Generation Students and Libraries

EDUCAUSE REVIEW | March/April 2005, Volume 40, Number 2

Wretched of the earth / Frantz Fannon ; translated from the French by Richard Philcox ; with commentary by Jean-Paul Sartre and Homi K. Bhabha.

Homi BhaBha discussed his introduction to a new edition of this work in the context of the current and future of place, society and the built environment at the Global Place forum '07 at the University of Michigan.

Fanon, Frantz, 1925-1961. . Wretched of the earth / Frantz Fannon ; translated from the French by Richard Philcox ; with commentary by Jean-Paul Sartre and Homi K. Bhabha. [0802141323 ] New York : Grove Press : Distributed by Publishers Group West, c2004.
Call#: Van Pelt Library DT33 .F313 2004

Pew Teens and Technology Study

The vast majority of teens in the United States, 87% of those aged 12 to 17, now use the internet. That amounts to about 21 million youth who use the internet, up from roughly 17 million when we surveyed this age cohort in late 2000. Not only has the wired share of the teenage population grown, but teens’ use of the internet has intensified. Teenagers now use the internet more often and in a greater variety of ways than they did in 2000. There are now approximately 11 million teens who go online daily, compared to about 7 million in 2000.

Not a Model Decision-Response to Meshwerks, Inc. v. Toyota Motor Sales U.S.A., Inc, 2006 WL 2623935 (D. Utah Sept. 13, 2006)

http://williampatry.blogspot.com/2006/10/not-model-decision.html

William Patry presents the recent opinion from District of Utah, Meshwerks, Inc v. Toyota Motor Sales U.S.A. Inc—a case in which Meshwerks, hired to make computerized and animated 3D models Toyota cars for an ad campaign, sued the company for copyright infringement when the models were used without his consent. Meshwerks describes his models as a work of “the graphic sculptor” using new graphic technology. The process is not just mechanical, but creative as well; it requires the designer to sketch, from scratch, the 2D picture of a 3D object using the computer as a tool, like a brush for a painter. Therefore, he argues that no two models will ever be alike, for ultimately every design is a unique creation. In defense, Toyota argued that digital models are not entitled to copyright protection, because the purpose of the graphic tool is to create an exact replica and inherently lacks originality. The court declared “lack of a creative recasting of the Toyota vehicles” through its digital medium and therefore Mershwerk’s models are not protected under copyright law.

Patry, however, argues that the Court has failed to evaluate the case on the heart of matter, the issue of originality, but instead focused forming its opinion on technical process in which the models were produced. Patry argues that since Bleinstein v. Donaldson, “purpose is irrelevant,” or the intent in which the work is created: the only question in matter is whether original contribution exists or not in its final outcome. Patry argues that the fact that both the court and the defendant recognized that skill, technical know-how, and the creative process that is born from this technology in the creation of models should have been sufficient to grant Meshwerk’s models copyright protection; a creative input, also called original input, is required in creating the model. Patry uses past decisions on copyright protections of photography, particularly of SHL Imaging, Inc. v. Artisan House, Inc. to mirror the inconsistency of this decision with which Supreme Court has stated: “To be sure, the requisite level of creativity is extremely low, even a slight amount will suffice.” The determination of copyright protection with photography has been made completely on original input, judged by its aesthetic quality. Camera is also a medium that creates exact replicas of life in 2D, but the court has focused on “artistic choices” made by the photographer. Patry pinpoints that in this particular decision, the court focuses on the purpose of creating the models and since the digital technology attempts to create a real-life picture of the car, it lacks the “creative recasting,” ignoring the creative input required to create the model in the process.

This entry forthright demonstrates the inconsistency that the loosely written and interpreted copyright law in the court. It allows room to argue that perhaps aesthetic qualities are too abstract to be good basis for determining copyright qualification.

FBI, NCSoft Close Down Unauthorized MMORPG Server

FBI shut down the unauthorized computer game server L2Extreme, which hosted the NCSoft MMORPG Lineage II. Owners of L2Extreme provided its 50,000 active users with service and code for the online game for a fee. NCSoft claimed millions of dollars of annual loss due to this illegal service. L2Extreme operated pirated server software copied from the NCSoft server software. Users then registered with L2Extreme to play Lineage II instead of using NCSoft’s servers.

The financial effect is of course significant, but NCSoft also had to defend its intellectual property rights. The case, at first glance, is similar to the Blizzard v. BnetD case. However, BnetD reverse engineered the Blizzard server software without direct infringement on the original software. It was a fair use copy with no copyright violation involved. Contrarily, L2Extreme simply pirated the software from NCSoft. In addition, L2Extreme was a profitable business whereas BnetD was fueled by volunteer game enthusiasts. Otherwise, the details of both cases seem very similar.

Comparing the Blizzard v. BnetD case with this event, it becomes clear that seemingly minor details are in fact the deciding factors in many copyright decisions. In one, the FBI abruptly closed down operation without proper legal decision whereas in the other, the original game company could not persuade the court of any wrongdoing on the defendant’s part. Noticeably, intellectual property laws and their applications to the game industry remains a relatively new field. Hence, it is difficult to pinpoint what is right and what is wrong. Perhaps the single greatest law which many intellectual property and gaming related cases are based on is the Digital Millennium Copyright Act. However, there are many critics of the DMCA simply because of some of the consequences of invoking the Act. It remains to be seen how long the DMCA can last before undergoing major renovations. Much of that is derived from the evolutionary nature of gaming, where much change can occur in just a few years. Laws that are applicable in one year may become outdated the next year. This is the inevitable change of technology.

Why the Monopolies are fighting for their lives in a New Era of Opportunities for Independents

My thesis for this project is that artists and copyright holders are finding it beneficial to waive their copyright in some cases of new technology, even though the industry as a whole tries to take the stance that uses of technology should be restricted. The example of this that I focus on is MP3 blogs, which tend to make available for download unauthorized material, and how major labels are beginning to reach out and even provide such blogs with material in the hope that they will benefit from the promotion. At the same time, however, major labels and the RIAA continue to attack peer-to-peer systems which very similarly, although on a much larger scale, allow users to download unauthorized material. This type of case shows that while the industry states that it wants to restrict use of technology, it is actually finding ways to use the same technology to promote its artists. Many new artists are able to gain exposure and there is opportunity that was never before available to the average person. That is the original intent of copyright law, which is to promote progress and encourage creation, something which excessive copyright on songs, and restrictions on technology such as the anti-device provision in the DMCA impede.

nsptrsuppm032601.pdf (application/pdf Object)

This case is an appeal by Napster of an injunction that does not require the plaintiffs to provide any individual file names of potentially infringing works available on the Napster system. The orders require the plaintiff to provide notice to Napster of copyrighted works by providing the title and artist name for each work. When given a list of copyrighted recordings, Napster would have three days to search all files on its system and prevent the transmitting or distribution of those files. Plaintiffs had sent in notices of hundreds of thousands of copyrighted works without the corresponding file names in the Napster system. Napster complained that the plaintiffs did not provide variants in song and artist name and could mix complying items in the same notice as non-complying items because Napster could not check in the time allowed by the injunction. The consequence was that Napster would end up blocking many authorized files. The arguments were that the DMCA set limitations on the judicial power of ISPs such as Napster, did not assess the "staple article of commerce" doctrine set forth in Sony, and that Napster has commercially significant non-infringing uses but is forced to block sharing of files even though the names do not always correspond with the contents of those files.

This case brings up some important points in my research about why copyright holders are finding it beneficial in some cases to waive some of their copyright in order to use new technologies such as MP3 blogs to promote music, while they continue to fight similar technology such as peer-to-peer services. Any discussion of Internet Service Providers (ISPs) liability is important because it affects how people can make blogs and share new things over the internet. There are several ISPs which allow anyone to create a blog from them, and these businesses are based on previous cases such as the Sony Corp v. Universal City Studios, Inc case where liability of technology providers is limited if they do not have specific knowledge of infringing uses of the technology. It also shows how even though a company can send take down notices, it is still difficult and costly to actually take a case to court and win it, no matter how clear cut it originally seems.

SSRN-MP3 Blogs: A Silver Bullet for the Music Industry or a Smoking Gun for Copyright Infringement? by Andrew Goldstone

This essay describes what an MP3 blog is, and how record labels want to capitalize on the promotion that they provide while fighting file sharing at the same time. The essay discusses the types of copyright infringement and fair use and how they apply to MP3 blogs, as well as the factors that cause the court to view MP3 blogs more favorably than peer-to-peer networks. It discusses law suits against Napster and also by the RIAA against peer-to-peer users. The article explains what establishes liability for infringing use, and the different expansions of the Copyright Act which have been brought by copyright owners in addressing new technologies. It then discusses some of these acts and gives some examples of violators. The next section explains the defense used when copyright owners bring suits, which is fair use, and it lists and describes the four factors in deciding fair use on a case by case basis.

This essay incorporates basically every aspect of my research into why copyright holders are willing to waive certain copyright in cases such as MP3 blogs, while they continue to fight against much of new technology such as peer-to-peer services. It describes what MP3 blogs are and how they are used and different sites that can link to the unauthorized music. It shows what the copyright holder needs to look for in order to bring a suit against infringing users, and also explains how the user of the work can try to use fair use as a defense.

Martin Rudolph Scherzinger - Music, Corporate Power, and Unending War - Cultural Critique 60

This is a long essay about corporate power in the music industry. The argument is that cross-ownership in the media tends to reduce competition and increases profits, in turn, forcing music production to become increasingly uniform and profit driven, and harming artistic expression. It has descriptions of corporate sponsorship, and the loss of diversity. The next section is about Clear Channel Communications, and how the consolidation takes away jobs, excludes a large variety of music, and provides listeners with a biased source of information. Next, is the analysis of a recent hit, which examines the predetermined song structure which results in homogenized music and play lists, this is called the sound of corporate music. The conclusion suggests that a number of musicians would prefer to circumvent the bureaucratic systems of the industry, and that in order to preserve the artists ability to express sometimes controversial and diverse views, that musicians and the population at large would prefer legislation that moves away from monopolies.

This article is relevant to my research in finding out why copyright holders are willing to waive some of their copyright in such cases as MP3 blogs, which often involve unauthorized downloading of copyrighted work. In the conclusion of the article, it suggests that a majority of musicians are not so upset about free downloads and many who are independently minded, support distribution systems that are not connected with the industry devotion to profit. Some artists who want to make more controversial material release it for free on the internet. It also suggests that this is a reaction to media consolidation, and provides some argument that more copyright control leads to the growth of monopolies, and the limiting of new technology and expression.

RIAA response--you're dead wrong | Tech News on ZDNet

This article is written by Cary Sherman, president of the RIAA as a response to a speech by Consumer Electronics CEO Gary Shapiro in which Shapiro stated that downloading off the Web is neither illegal nor immoral. Sherman says that statement is wrong and misleading. Shapiro says that legal downloading from record companies and legitimate online music companies is fine but there is a problem with unauthorized downloading of copyrighted material, and sites Title 17 of the United States Code. Sherman writes that the fair use argument employed by Shapiro makes falsely seem as if copyright owners are against fair use, and that the fair use claim is unsupported when it comes to unauthorized use. Sherman argues against Shapiro's claim that downloading is different from taking a tangible property by writing that both owners have been deprived of something of value. Sherman refutes Shapiro's use of the first amendment and also says that companies are in fact aggressively pursuing a more flexible business model that does take advantage of new technology. Shapiro writes that the industry using technology and the internet is beside the point and that the real issue in what Shapiro is saying is that "digital stealing isn't really stealing" and the last thing we need is more polarizing rhetoric.

For my research on why copyright holders are willing to waive copyright in some instances such as MP3 blogs because the new technology has benefits in promotion, this article is a firm example of the view from the record labels about copyright law and internet uses. It is written by the president of the RIAA, Cary Sherman and gives an argument in favor of strong copyright law, and a rebuttal to a speech by the Consumer Electronics CEO Gary Shapiro in favor of weaker copyright law. It provides the viewpoint of the music industry about downloading, but it is interesting in that it does not mention anything about record companies such as Warner who at times chose to solicit certain independent blogs and will send the bloggers music with the hope that the blog will help promote the record label's artist for free.

Speech by CEA P/CEO Gary Shapiro Re Copyright and Technology, 9/17/02.

This is a speech given by Gary Shapiro, the President and CEO of the Consumer Electronics Association about growing tension between copyright owners and new technology. Shapiro speaks about how new reproduction technology and transmission technology has increased the fears of the music and motion picture industries. He draws parallels to new technology in the past such as the VCR, and CD and cassette recording. Today with mass availability of copies of music and movies, the content community has used congress, courts, and the media to challenge new technologies. Shapiro says that he believes that hardware and software companies have an interest in working together to see more products, and that they can misuse source protection and DVD encryption to sell more products while limiting new technologies. Shapiro says that lawsuits have shut down file -sharing services, threaten peer-to-peer networks, challegenged as illegal devices which allow consumers to skip commercials, and has subpoenaed ISPs to identify downloading subscribers. Congress has introduced legislation that will require technology to be shaped by a government-mandated copy protection system. Shapiro comments on the language used by Hollywood and the music industry using words like "piracy" and "stealing" to describe downloading. Shapiro asserts that downloading is neither illegal nor immoral. He says that downloading is not taking away a copy of the product from someone, and in some cases helps promotion. His principles for policymakers to follow ask that a very high amount of evidence be found before restricting technology.

For my research on MP3 blogs and why copyright holders are willing to waive some of their copyrights and allow the blogs to post their music this speech shows a view which is far to the fair-use and weak copyright law. It is clear support for allowing the new technologies and the internet to be created and exist, and for there to be significant evidence of a negative effect on the copyright holder before the technology is restricted. The key line by Shapiro for my project is when he submits that downloading off the Web is neither illegal nor immoral. He sites fair use as being given on a case by case basis and that in many cases of downloading the use has "been shown to be neutral or beneficial to the copyright owners, and have either been tolerated or accepted as fair use." He also discusses how downloading can even lead to further sales, when people buy the whole CD from the song he or she heard on the internet.

Nintendo and Telos: Will You Ever Reach the End? by Peter Buse

In this paper, Peter Buse discusses how our culture has become increasingly more dependent upon technology throughout the years, stating that we are living in a "cybernetic age". All one must do is observe the children of today and their adept skill at playing video games, and computers. He uses elements from David Porush's book the Soft Machine: Cybernetic Fiction, in order to support his theory that within video games, there is a struggle between man and technology for dominance.
Buse goes on to discuss Video Game narrative, and its ability to immerse the player to the point of obsession. His views are not too kind, as he claims that video games are based on belligerence, and they teach through a process of negative reinforcement, considering they are for the most part, based upon competition and combat. He also declares them to be almost chauvinistic in that they primarily show what he describes as a "worst case scenario of patriarchal gender relations" (pg 166) and that they do not ever possess a narrative. Buse even goes as far as to equate video games with cocaine, considering that they can appear to be addictive.
While this article does not have anything to do with video game or computer copyright issues, it does serve as an example of the way in people of different field must strive to interpret them. Buse's discussion of technology and the way in which it causes immersion is also of importance to my paper. The idea that video games are becoming increasingly more interactive begs the question of whether or not technology will progress to a point where interactivity within the game will demand copyright protection.

Listen. And learn. - The Boston Globe

In this article, the Boston Globe reporter talks to several bloggers and discusses what motivates audiobloggers otherwise known as MP3 bloggers to create sites and post songs. In these blogs, the author finds a song he or she wants to share, and posts it online as an MP3 file along with a commentary or review about the song so that readers can learn about the band and download and listen to the song if they choose. Bloggers will do this for free, as one blogger says "Selfishly, I get validation that people like my music taste... But I want people to find new music that they love." The music industry tends to leave blogs alone because they promote artists for free and are capable of creating "buzz" for an unknown artists and quickly establishing them among a loyal fan base. Litigation is expensive and MP3 blogs are small-scale and some labels have begun supplying blogs with music so there have not been many confrontations between record labels and bloggers. Some bloggers receive "cease and desist" letters from labels and although a code of conduct has not been written, there is a concept of ethical audioblogging. Songs are removed after being posted for typically around one or two weeks, no more than two tracks are posted from each album, and links to sites where readers can buy the albums are provided.

For my research on why copyright owners are willing to waive some of their copyright when it comes to MP3 blogs, this is a useful article in seeing a little bit of the motivation for both bloggers and record labels to coexist. It provides some commentary by the bloggers themselves as to why they put work into blogs and what makes it important for them to exist. It also discusses blog ethics which are part of the reason labels are not against MP3 blogs, and looks at one blogger's idea for a possible future move for the labels which could start their own blogs in order to promote their back catalogues. That provides an interesting comparison between a legal MP3 blog created by a label and an illegal MP3 blog which may have more credibility among the blogging community.

The New York Times > Technology > Warner's Tryst With Bloggers Hits Sour Note

This is a New York Times article about how Warner Brothers Records became the first major record label to ask MP3 blogs to play its music. Robin Bechtel, vice president for new media at Warner Brothers and Reprise Records had the company contact MP3 blog websites and ask the bloggers to post and review songs by the band The Secret Machines. This is an interesting strategy for a major record label to pursue because most MP3 blogs post song files without permission from the copyright holder. According to Bechtel, Warner chose blogs which "were promoting music responsibly" by having permission to the downloadable songs and also linking to stores where the full albums could be bought. The label would benefit by gaining free promotion and establishing a little known artist. Out of at least eight MP3 blogs contacted by Warner, only one blog posted the track, after having it sent. Many bloggers only look to find new music and the Secret Machines were already being played on radio. Two other sites had already posted Secret Machines tracks before Warner had sent them and once several blogs have posted tracks, others are less likely.

The move backfired for Warner however because after the song was posted on the blog Music for Robots, several comments posted under different names were linked back to computers in the Warner offices. The indie rock song was also sent to a hip-hop blog, Cocaineblunts which was seen by the writer as proof of a disconnect between the major label and blog culture.

This article is central to my project which is to look at how copyright holders are now willing to waive their copyright in certain cases such as MP3 blogs while the RIAA continues to sue peer 2 peer software. Blogs have not upset labels because there is such a strong culture of unwritten rules and basically a code of conduct for bloggers. For example, songs are not left up for long periods of time, only a couple of tracks from an album are posted and links are included to stores where full albums can be bought, and bloggers will take down songs if asked by the copyright holder. In this article we see how a major label is realizing that in order to reach a large portion of album purchasers they need to promote their artists as independents by using the internet and particularly mp3 blogs to break new acts. However, the very reason why MP3 blogs have not particularly bothered the labels is also preventing the labels from being able to use the blogs as they wish.

From tin foil to stereo : evolution of the phonograph / by Oliver Read and Walter L. Welch.

Read, Oliver. . From tin foil to stereo : evolution of the phonograph / by Oliver Read and Walter L. Welch. [0672212064. ] Indianapolis : H. W. Sams, 1976.
Call#: TS2301.P3 R4 1976

Real thing : imitation and authenticity in American culture, 1880-1940 / Miles Orvell.

Orvell, Miles. . Real thing : imitation and authenticity in American culture, 1880-1940 / Miles Orvell. [0807818372 ] Chapel Hill : University of North Carolina Press, c1989.
Call#: Van Pelt Library E169.1 .O783 1989

After the machine : visual arts and the erasing of cultural boundaries / by Miles Orvell.

Orvell, Miles. . After the machine : visual arts and the erasing of cultural boundaries / by Miles Orvell. [0878057544 (cloth : alk. paper) ] Jackson : University Press of Mississippi, 1995.
Call#: E169.1 .O7828 1995

Wireless imagination : sound, radio, and the avant-garde / edited by Douglas Kahn and Gregory Whitehead.

Wireless imagination : sound, radio, and the avant-garde / edited by Douglas Kahn and Gregory Whitehead. [0262111683 ] Cambridge, Mass. : MIT Press, 1992.
Call#: Van Pelt Library NX650.S68 W57 1992

Cited by Erica Scheinberg in her "Kurt Weill's Radio Style" paper.

Sound technology and the American cinema : perception, representation, modernity / James Lastra.

Lastra, James. . Sound technology and the American cinema : perception, representation, modernity / James Lastra. [0231115164 (cloth : alk. paper) ] New York : Columbia University Press, c2000.
Call#: Van Pelt Library PN1995.7 .L37 2000

Who controls the Internet? : illusions of a borderless world / Jack Goldsmith and Tim Wu.

Goldsmith, Jack L. . Who controls the Internet? : illusions of a borderless world / Jack Goldsmith and Tim Wu. [0195152662 (cloth) ] New York : Oxford University Press, 2006.
Call#: Van Pelt Library HM851 .G65 2006

What's New with Wu

professor at Columbia Law School

Synthetic worlds : the business and culture of online games / Edward Castronova.

Castronova, Edward. . Synthetic worlds : the business and culture of online games / Edward Castronova. [0226096262 (cloth : alk. paper) ] Chicago : University of Chicago Press, 2005.
Call#: Van Pelt Library GV1469.15 .C43 2005

Historical journal of film, radio and television [electronic resource].

Historical journal of film, radio and television [electronic resource]. [1465-3451 ] [London] : Carfax

Print, image, and sound; essays on media. John Gordon Burke, editor.

Print, image, and sound; essays on media. John Gordon Burke, editor. [0838901220 ] Chicago, American Library Association, 1972.
Call#: Storage: From RECORD page, use Place Request tab P87 .P7

maybe?

Wonderful inventions : motion pictures, broadcasting, and recorded sound at the Library of Congress / edited by Iris Newsom ; with an introduction by Erik Barnouw.

Library of Congress. . Wonderful inventions : motion pictures, broadcasting, and recorded sound at the Library of Congress / edited by Iris Newsom ; with an introduction by Erik Barnouw. Washington : The Library, 1985.
Call#: Van Pelt Library PN1994 .L4824 1985

"What'd I say?" : the Atlantic story : 50 years of music / Ahmet Ertegun with Greil Marcus ... [et al. ; compiled and edited by C. Perry Richardson]. [1566490480 ] New York : Welcome Rain Publishers, 2001.
Call#: Van Pelt Library Folio ML427.A85 W45 2001

Aural history : essays on recorded sound / edited by Andy Linehan.

International Association of Sound and Audiovisual Archives. Conference (32nd : 2001 : British Library, St. Pancras) . Aural history : essays on recorded sound / edited by Andy Linehan. [0712347410 ] London : British Library, 2001.
Call#: Van Pelt Library ML1055 .I58 2001

Sound matters : essays on the acoustics of modern German culture / edited by Nora M. Alter and Lutz Koepnick.

Sound matters : essays on the acoustics of modern German culture / edited by Nora M. Alter and Lutz Koepnick. [1571814361 (alk. paper) ] New York : Berghahn Books, 2004.
Call#: Van Pelt Library ML3845 .S655 2004

Mechanical song : women, voice, and the artificial in nineteenth-century French narrative / Felicia Miller-Frank.

Miller-Frank, Felicia, 1952- . Mechanical song : women, voice, and the artificial in nineteenth-century French narrative / Felicia Miller-Frank. [0804723818 (acid-free paper) ] Stanford, Calif. : Stanford University Press, 1995.
Call#: Van Pelt Library PQ283 .M53 1995

Association b/t women, the voice, and the artifical or technological has a long history in European discourse on the arts. Female prodigies are represented as sexless or artifical angels emblematic of sublime and artistic modernity. (Weidman 124)

Consumption patterns, digital technology and music downloading

This article discusses the way in which the internet and digital distribution has changed consumption patterns. Strategic Marketing Departments of Record Companies are seeking information on consumer behavior in order to anticipate competitors and to "improve the supply and demand." This article contains an empirical analysis on the industry including on-line survey results that illustrate that music downloading is not the only way in which consumers are tapping into the digital environment.

open access and research publishing

yep.

ALA | Internet Resources: Educational technology

Resources for Information Technologists

The psychology, biology and politics of food, Kelly Brownell, Yale

an academic course that emerged from alice waters' involvement in the yale sustainable food project.

Chanan in Music, Culture and Society

Music, Culture and Society .3 (1981). 219-42.

Michael Chanan, "The trajectory of Western music or, as Mahler said, the music is not in the notes."

Culture, technology & creativity : in the late twentieth century / edited by Philip Hayward.

Culture, technology & creativity : in the late twentieth century / edited by Philip Hayward. [0861962664 (pbk) : ] London : John Liberty [1990]
Call#: Annenberg Library Reserve T14.5 .C85 1990

Article "The Architecsonic Object: Stereo Sound, Cinema & Colors" cited in Any Sound You Can Imagine.

Will pop eat itself? : [pop music in the soundbite era] / Jeremy J. Beadle.

Beadle, Jeremy J. . Will pop eat itself? : [pop music in the soundbite era] / Jeremy J. Beadle. [057116241X ] London ; Boston : Faber and Faber, 1993.
Call#: ML3470 .B4 1993

Cited in Theberge's Any Sound You Can Imagine.

nathan myhrvold is above average

MIT Advertising Lab Blog

Empire and communications [by] Harold A. Innis. Rev. by Mary Q. Innis. Foreword by Marshall McLuhan.

Innis, Harold Adams, 1894-1952. . Empire and communications [by] Harold A. Innis. Rev. by Mary Q. Innis. Foreword by Marshall McLuhan. [0802017991 ] [Toronto] University of Toronto Press [1972]
Call#: Van Pelt Library P90 .I5 1972

First attempt to "conjugate world history according to the workings of different media technologies" according to translators of Kittler's Gramophone, Film, Typewriter.

Discourse networks 1800/1900 / Friedrich A. Kittler ; translated by Michael Metteer, with Chris Cullens ; foreword by David E. Wellbery.

Kittler, Friedrich A. . Discourse networks 1800/1900 / Friedrich A. Kittler ; translated by Michael Metteer, with Chris Cullens ; foreword by David E. Wellbery. [0804716161 (alk. paper) : ] Stanford, Calif. : Stanford University Press, c1990.
Call#: PT345 .K5813 1990

Literature, media, information systems : essays / Friedrich A. Kittler ; edited and introduced, John Johnston.

Kittler, Friedrich A. . Literature, media, information systems : essays / Friedrich A. Kittler ; edited and introduced, John Johnston. [9057010615 ] Amsterdam : G+B Arts International, c1997.
Call#: Van Pelt Library P96.L5 K58 1997

Technology and Innovation in Developing East Asia: An interpretive survey

Trade in Capital Goods

Technology, Trade and Growth: A Unified Framework

Innovation in Japan after the Financial Crisis: The Transition from TechnoNationalism to TechnoRealism

Silicon Islands and Silicon "Valles": Rethinking Mexican Regional Development Strategies in an Era of Globalization

RAJANT Corporation builds portable, tactical, 802.11b wireless LAN networks using BreadCrumb devices.

Rajant Corporation’s BreadCrumb® family of products offers instant wireless broadband connectivity, adaptability, ease of deployment, security and flexibility.

Rajant Corporation has developed wireless broadband systems and components that have multiple applications in homeland security, public safety, emergency and enterprise networking sectors. Rajant Corporation’s wireless LAN systems are portable, mobile, battery powered, meshing, self-healing, *highly secure, 802.11b access points.

The company strategy includes working with government, military, civilian agencies and first responder organizations to define customer needs and to identify or create funding sources for customers as well. Rajant has succeeded in developing both the private sector and federal customer base.

OpenPlans Home - OpenPlans

OpenPlans is the work of The Open Planning Project (TOPP), a New York City-based non-profit organization dedicated to enhancing citizen and public interest group participation in community planning processes through technology. TOPP imagines OpenPlans as a free, hosted, and shared suite of community organizing tools, and we look forward to providing you with an ever-increasing toolkit for getting things done.

Research Instruction in a Web2.0 World

Section programming for ALA 2006.

Technology Primer: What you need to know to talk web 2.0

Resource guide from ALA confernce.

Pew Teens and Technology Study

EAS028

Radio reader : essays in the cultural history of radio / edited by Michele Hilmes and Jason Loviglio.

Radio reader : essays in the cultural history of radio / edited by Michele Hilmes and Jason Loviglio. [0415928206] New York : Routledge, 2002.
Call#: Van Pelt Library PN1991.2 .R33 2002

Excellent chapter 4 (pp. 63-88) Derek Vaillant, "Your Voice Cam in Last Night....but I thought it Sounded a Little Scared": Rural Radio Listening and "Talking Back" during the Progressive Era in Wisconisn, 1920-1932. University-run radio station wanted to program classical music, farmers (for whom the station was largely for) wanted to hear their (fiddler) music.

PEAR XML_RSS

RSS Parser

Vectors: Journal of Culture and Technology in a Dynamic Vernacular

"International electronic journal that brings together visionary scholars with cutting-edge designers and technologists to propose a thorough rethinking of the relationship of form to content in academic research, focusing on ways technology shapes, transforms and reconfigures social and cultural relations."

FeedRinse.com

Custom filtering tools for unruly RSS feeds (akin to spam filters). Seems like an odd tool to me given that you typically opt in to view feeds.

Penn RSS Evaluation team wiki

plenty of RSS resources gathered by this year's evaluation squad.

Netvibes

my favorite web-based RSS reader. simple, elegant, intuitive.

Impact of Technology on the Competitiveness of the Indian Small Manufacturing Sector: A Case Study of the Automotive Component Industry

Stage to studio : musicians and the sound revolution, 1890-1950 / James P. Kraft.

Kraft, James P.. Stage to studio : musicians and the sound revolution, 1890-1950 / James P. Kraft. [0801850894 (alk. paper)] Baltimore, MD : Johns Hopkins University Press, 1996.
Call#: Van Pelt Library ML3795 .K82 1996

Century of recorded music : listening to musical history / Timothy Day.

Day, Timothy.. Century of recorded music : listening to musical history / Timothy Day. [0300084420 (cloth)] New Haven [Conn.] : Yale University Press, c2000.
Call#: Van Pelt Library ML1055 .D37 2000

Early history of radio : from Faraday to Marconi / G.R.M. Garratt.

Garratt, G. R. M.. Early history of radio : from Faraday to Marconi / G.R.M. Garratt. [0852968450] London : Institution of Electrical Engineers in association with the Science Museum, c1994.
Call#: Van Pelt Library TK6545.A1 G37 1994

Squidoo Homepage

Sound technology and the American cinema : perception, representation, modernity / James Lastra.

Lastra, James.. Sound technology and the American cinema : perception, representation, modernity / James Lastra. [0231115164 (cloth : alk. paper)] New York : Columbia University Press, c2000.
Call#: Van Pelt Library PN1995.7 .L37 2000

James Lastra situates the development of sound technology within the context of modernity with special attention paid to the relation of sound to other representational technologies such as photography and phonography. The book attempts to trace the exchanges and shifting relationships between human senses, technologies, and forms of representation (i.e., senses shaped technology development and those devices shaped our sensory experiences). The first couple chapters are a more general account of the material history of sound technology as both a means of simulating the sensory capacities of the ear and as a means of "writing" sound. The remaining chapters are nominally about the cinema beginning with the coming of sound and moving through the classical Hollywood system. Overall, Lastra's book is indebted to cultural theorists of modernity (Benjamin, Comolli, Adorno) which is not surpising as Lastra teaches at Chicago along with other modernity film scholars Tom Gunning and Miriam Hansen. The book has many strengths including giving ample attention to the practices and theories of early film sound technicians and engineers (and not just academic theorists), but suffers a bit from lack of attention to actual films themselves. Chapters 5 & 6 claim to examine the relationship between sound aesthetics, technology and film form, but while attention is paid to various sound technologies and ideas of "realism" there is little attention paid to demonstrating their effect on the form of actual films. Still, it is a well written and interesting book that will be especially useful for those interested in modernity, technology and theories of representation.

Google in China: The Big Disconnect - New York Times

article to be published in this weekend's nytimes magazine

CASA155wiki : Home Page

A syllabus from a Stanford course on social software. Also note that the whole course is a wiki.

Diggdot.us - digg / slashdot / del.icio.us popular

Orr, John. Memento, or the Powers of the False. Film West. 43 (2001): 35-38.

Orr closely examines Memento's film fabric as well as its broader cultural implications, presenting it as the result of a natural progression in a decade marked by the transformation of classic film noir into a low-budget identity noir. Nolan's dis-linear identity noir opens a black hole of perception, making the audience share the same amnesiac quality with the beleaguered, lost protagonist. This creates an intensifying suspicion of what the truth is and whether it actually exists. Orr deconstructs Memento as an intersection of popular film genre and experimental montage, discussing Nolan's mise-en-scene reduction to pure image. The author examines the narrative loop of the film as a subject to disorientations, playing forward and backward in time without a serial return to the present. Orr juxtaposes this approach to the fast-forward culture of today, calling it a perverse culture of the rewind. that plays on electronic culture's fatal flaw of .impatience with the slowing image. Nolan makes this perverse reverse dependent on the art of simple montage, creating a protagonist strikingly independent of electronic paraphernalia Leonard does not use the tools of the contemporary investigator, such as bugs, camcoders, computers, or mobiles, but is instead reliant on text and image. This, Orr argues, makes him a fable for the information age, his lack of memory storage both a match and a metaphor for the disaster bound to strike if all the world's electronic technology were to crash. Leonard is thus reduced to pure hard copy, from the tattoos covering his body to the multitude of notes lining his inside pockets. In this respect, Nolan.s protagonist becomes the antithesis of the Kubrickian cyborg monster, a de-programmed humanoid whose retrograde amnesia mirrors this technological retrograde evolution.

"Star Wars" is Finally Released on DVD

The first installment of the six part Star Wars film series was released in 1977. Twenty five years later, in September 2004, the DVD's of the first trilogy ( Episode IV: A New Hope, EpisodeV, The Empire Strikes Back and Episode VI, and Return of the Jedi) were released. These DVD's were not comprised of the "classic" film trilogy, but rather the "Special Edition" versions that Fox, Lucas Film and George Lucas released in 1997 (which were originally available only on VHS). Fortunately for fans who can never get enough of everything and anything Star Wars related, the DVD set is loaded with extra features. The four disc set includes a bonus disc highlighting an extraordinary documentary and never before seen footage from the making of the films. Each of the films included in the set has been digitally restored and remastered by THX. In addition to significantly enhanced picture quality, the three films are mastered in Dolby Digital Surround 5.1 EX, yielding amazing sound quality. The Star Wars trilogy can also be viewed by the deaf and non-English speaking as it is subtitled in English, French, and Spanish. All of these additions to the original films not only make the DVD's a worthwhile purchase for viewing enjoyment, but also an important addition to any serious film buff's collection.

The DVD release of the original trilogy (Episodes IV, V, and VI) represents a significant marker in the Star Wars franchise. The groundbreaking films have become an industry unto themselves and the DVD's are one more outlet through which to generate more profit. DVD's are the future of all film. The fact that one of the biggest money-making movies of all time is now distributed on DVD, with added special features, validates the importance of the DVD release. The release of films in DVD format allows the audience to watch movies multiple times. The format also introduces an entirely new audience to a film that may have been produced at a much earlier time. The possibilities for film enhancement, viewing pleasure, and portability all contribute to the significance of the DVD as it relate to the Star Wars franchise.

Seeing in Dolby

Dolby is the sound technology responsible for enhancing the audio portion of movies. Star Wars is the film with which we associate Dolby's first major sound breakthrough. This innovative technology created the sound of the Millenium Falcon "whooshing" over the heads of the audience (in Star Wars Episode IV). Dolby has heightened the quality of what we hear in movies since the pivotal 1997 Star Wars film. This article demonstrates that the enjoyment of the visual as well as the audio aspect of film has been revolutionized by the introduction of Dolby sound.

Bill Jasper, chief executive of Dolby laboratories, has set out to expand Dolby's markets and solve the financial problems the company has been experiencing in the past several years. When Dolby gave its input to the original Star Wars movie, the sound quality changed the industry and wowed audiences. However, today, it takes a lot more to impress a jaded consumer. Advanced technology permeates our everyday lives and it is a constant struggle to stay ahead. With the current push for digital cinema, it would appear to present an opportunity for Dolby to command the market. However, the industry will not accept "a Dolby proprietary system." The industry demands an "open" system. Dolby's solution is to work on better compression. That is something the company could sell. Dolby has done a significant amount of work to showcase technological innovations for Disney in the new film Chicken Little. However, installation of new technology is not the mark for which Dolby wants to be known. Instead, CEO Bill Jasper wants to sell "mastering technology and theater hardware." Dolby currently has stiff competition from several other companies, but was faced with a similar scenario when digital audio was introduced. Today, Dolby has eighty percent of that market.

Dolby is a company whose success and profitability is dependent on innovation. Star Wars Episode IV-A New Hope was a revolutionary film partly due to Dolby's audio contributions. Dolby is looking to the future, hoping to realize similar success in the visual market.

Sacred Cow Dung: All Things Web 2.0 -

A really long list of many things web 2.0.

Sky's Limit in technological advances

Library Journal - Hustle and Flow (3/15/06)

about the "flow" of social software

Georgia college pushes for iPod ingenuity - Boston.com

Sacred Cow Dung: All Things Web 2.0 -

A really long list of many things web 2.0.

Sacred Cow Dung: All Things Web 2.0 -

A long list of web 2.0 thingies. Good reference for such things as bookmarkers, audio sharing, collaboration, etc, etc, etc

Digital Web Magazine - Web 2.0 for Designers

"This May 2005 article explores the differences between so-called Web 1.0 (in which "a small number of writers created Web pages for a large number of readers") and Web 2.0, in which Web users are able to easily contribute and create content. Includes examples of Web 2.0 technologies, such as Flickr, RSS aggregators, and Google Maps. From Digital Web Magazine, "an online magazine intended for professional web designers."" (via LII)

LibrarianInBlack: Podcasting Resources

Trillian flaw highlights IM security threat - ZDNet UK News

"A legacy flaw in the latest version of the multi-protocol IM client is said by the company to be of 'extremely low risk', but could be part of a worrying trend"

Project collaboration, management, and task software: Basecamp

"Basecamp is a unique project collaboration tool. Projects don't fail from a lack of charts, graphs, or reports, they fail from a lack of communication and collaboration. Basecamp makes it simple to communicate and collaborate on projects." includes messaging, file sharing, task assignment, and more...web-based collaboration

Geek to Live: Lifehacker Pack - Lifehacker

RSS Instruction Bibliography

7 things you should know about collaborative editing

Collaborative editing tools allow a group of individuals to simultaneously edit a document, see who else is working on it, and watch in real time as others make changes. As a functional hybrid of wikis and instant messaging, collaborative editing creates a new dynamic for group work and multitasking, two hallmarks of today's learners.

Free Range Librarian: Getting Started with RSS: The Fifteen-Minute Tutorial

11 reasons why Library 2.0 exists and matters

Blog post by the Net Admin from Ann Arbor Public

Web 2.0

article defining/describing/commenting on web 2.0

RSS Compendium

"This is an excellent source of information about RSS, and includes directories, readers, blogs about RSS, etc."

BBC NEWS | Help | RSS | RSS Feed (Really Simple Syndication)

article from BBC on what is RSS, how to use it, etc.

Berkeley Info Science Webcasts

Collection of webcasts from a course offered at Berkelely:Search Engines: Technology, Society and Business

Center for Women and Information Technology: Bibliography on Gender and Technology in Education

"The Bibliography on Gender and Technology in Education has been created by gender equity specialist Jo Sanders. Focusing primarily on information technology, the bibliography is comprehensive as of 2005 and draws on international research as well as intervention literature. It contains nearly 700 entries and is extensively annotated, key-worded, and searchable. Sanders compiled the bibliography for her 2005 review article, "Gender and Technology: A Research Review.""

A democracy of groups

Abstract from First Monday:

In groups people can accomplish what they cannot do alone. Now new visual and social technologies are making it possible for people to make decisions and solve complex problems collectively. These technologies are enabling groups not only to create community but also to wield power and create rules to govern their own affairs. Electronic democracy theorists have either focused on the individual and the state, disregarding the collaborative nature of public life, or they remain wedded to outdated and unrealistic conceptions of deliberation. This article makes two central claims. First, technology will enable more effective forms of collective action. This is particularly so of the emerging tools for "collective visualization" which will profoundly reshape the ability of people to make decisions, own and dispose of assets, organize, protest, deliberate, dissent and resolve disputes together.

The Impact of Emerging Technologies

Susan Mernit's Blog: Talking: The distributed web

"On a tactical level, this means that web sites that focus on improving their content, updating more frequently, recruiting users through community, etc. are missing half the picture--the half that says that if you issue APIs for your site's products and services, allow remixes, encourage--no, help--users tag your data--and RSS-ify everything--you'll be far ahead of the game and grow links--and audience--like crazy because your discoverability will soar. In other words, you need to not only improve your destination, you need to move off it."

Gender & community in the social construction of the Internet / Leslie Regan Shade.

Shade's research, although not linguistic in nature, is useful to provide a background into women's roles in constructing the Internet. She begins by reviewing research on gendered uses of various communications technologies, including the telephone, radio, and television. She discusses cyberactivism and feminism, as well as public policy determining women's access to the internet. She cites a case study of women in China and internet access implementation and concludes with a discussion of whether women are merely consumers targeted by merchants or active citizens in an online sisterhood (discussions that we have held in class as well).

Women & everyday uses of the Internet : agency & identity / edited by Mia Consalvo & Susanna Paasonen.

This text consists of three sections regarding women's use of the internet. Part One deals with the definition of gender as part of a user's identity on the net, in particular for internet gamers (Paasonen) and female professionals (Dorer) The second part concerns how women are addresses as consumers of the internet and networks, with examples from online communities like Oprah.Com (Cooks/Paredes/Scharrer) and other women's websites (Gustafson). Part Three gives examples of everyday uses of the internet for bringing girls and women together, and also discusses the problems and strategies inherent for lesbians online (Poster). Finally, the fourth and last part talks about gender and new media in the contexts of the school, politics, and television viewing. This looks to be a very interesting text from a sociological perspective which can supplement the other linguistic texts in the bibliography.