The visualization and idealization of digital nativity?
The development of the Web 2.0 and its numerous applications have led to an exponential growth in the number of authors and texts which mingle with each other in an ever-expanding, prolific space that is now impossible to fathom. The revolution of electronic texts in the publishing industry is a phenomenon that operates on various levels simultaneously, for it affects the technology of text (re)production, the paper or electronic support systems used for writing, and the reading habits of the end user. We are still at the threshold of a new era, of a transitional period … Reading habits are also being altered by the appearance of new devices and formats, bringing with them completely new discourses and realities that need to be analysed. One of the most significant changes is in the area of text reception. In the traditional editing/publishing process the author-editor relationship was more or less taken for granted, which led to a very passive attitude on the part of readers, who were mere receptors of the final texts unable to intervene in the form or content. However, reading in a digital environment has flipped this model, displacing much of the prominence once solely reserved for authors and editors to the readers, who can now intervene in the different stages of text production, distribution and reception. What is called social reading, in its full array of complexity, is a step further along the path towards appropriation of the message which is an inherent part of every communicative process. Reader intervention in the written text and the communicative collaboration and exchange between readers and the different agents in the edition/publication chain are emerging as a new paradigm. This shift is fostered by a new mentality which is more sociable and cooperative, and by new technologies which support it with cutting-edge developments that enable new intellectual and informational competences to emerge.
A second domain concentrates on writing media histories. I use the plural in order to indicate that different media histories can be written, ranging from histories of media techniques to histories of mentalities. Of special interest, in my view, is a type of history which concentrates on changes evoked by the advent of a new medium in the private, as well as in the public sphere. Another important research area may be designated as a cultural history of media. Here research would concentrate upon the co-evolution of media and communication, the emergence of macro forms of communication such as literature, journalism, public relations and advertising, the rise of new genres, e.g., together with the development of the internet such as chats, blogs, twitter, social networks, video platforms (You- Tube), etc., or forms of canonization. In this area single media offers are analyzed from a theoretical perspective of difference, i.e., in an interdisciplinary manner. In my view, this is the framework where literary studies ought to be located. Literary texts as special media offers produced and treated by a special social system, namely the literary system, play a specific role compared to all other media offers with regard to all relevant perspectives. Their production, distribution, reception, and postprocessing on the one hand differs from that of other media offers, on the other hand it has to be redefined with the advent of any new media system. Print, radio, television, or the internet have changed the material, communicative, and emotional conditions of all individual and social processes in which literary phenomena play a role. New genres such as computer poetry arise (see, e.g., Block, Heibach, Wenz; Hartling), literary texts are stored on and retrieved from the internet, literary phenomena have to compete with computer games, and there is the option to publish literary texts on the internet, etc.
re-MIX culture at work.
I guess DJ Jazzy Jeff can be considered an icon of analogue remix culture (though is obviously using digital snippets and a computer create his mixes here).
Our money’s on DJ Jazzy Jeff.
Someone left us a present! A traveling copy of Freaky Friday (RIP, Mary Rodgers) with a very intriguing Post-it note on the cover, and a code written on the side:
Bookcrossing.com is a site that connects people through books — you catch a book, read it, release it again, and log it on the site with your comments. Entering the code on our copy of Freaky Friday revealed a poignant message from user ResQgeek: “Registered in memory of my daughter, who was tragically killed on 30 August 2010.”
We’re sorry for your loss — and we’ll pass the book on!
A nice example of the idea that a person can construct his identity through the books he/she reads… or in other words: ‘you are what you read’
Art is why you do something.
Craft is how you do something.
Willingness to live with the ‘media’ model of communication shows chirographic conditioning. First, chirographic cultures regard speech as more specifically informational than do oral cultures, where speech is more performance-oriented, more a way of doing somethingto someone. Second, the written text appears prima facie to be a one-way informational street, for no real recipient (reader, hearer) is present when the texts come into being. But in speaking as in writing, some recipient must be present, or there can be no text produced: so, isolated from real persons, the writer conjures up a fictional person or persons. ‘The writer’s audience is always a fiction’ (Ong 1977, pp. 54–81). For a writer any real recipient is normally absent (if a recipient is accidentally present, the inscribing of the message itself proceeds as though the person were somehow absent—otherwise, why write?). The fictionalizing of readers is what makes writing so difficult. The process is complex and fraught with uncertainties. I have to know the tradition—the intertextuality, if you wish—in which I am working so that I can create for real readers fictional roles that they are able and willing to play. It is not easy to get inside the minds of absent persons most of whom you will never know. But it is not impossible if you and they are familiar with the literary tradition they work in.
We don’t get all developmental tasks done at age-appropriate times - or even necessarily get them done at all. We move on and use the materials we have to do the best we can at each point in our lives. We rework unresolved issues and seek our missed experiences. The Internet provides new spaces in which we can do this, no matter how imperfectly, through our lives. So, adults as well aas adolescents use it to expore identity.