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7 Pages • Essays / Projects • Year: Pre-2020 • Previously uploaded under: ARIN2620 - Cyberworlds
Take home exercise 1 quotes: ‘Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts…A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…’ To understand how we use media, and with what consequences, we need to consider them both separately and holistically. We also need to understand how people used and made sense of earlier forms of digital media if we are going to make claims about what is and isn’t new. The fact is, the internet that appeared in the 1993-95 period wasn’t just a technology; it was the enactment of a hope. The changes of 1993-95 were very much anticipatory, changes based on what people imagined could happen, not what had already happened. In the early 1990s, the internet did not so much cause new things to happen as it served to inspire people to imagine that new things would happen. Like other emerging media technologies of the early twenty-first century that possess the qualities of real-time interactions, visualization and a sense of inhabiting space together, the virtual world offered everyday media users an experience that was neither entirely virtual nor real but vividly actual. All humans are born, grow and age, and finally, die, but there are patterns to how people understand their life course, and these patterns are not biological pregivens; they are forged through culture, and this can now include culture in virtual worlds. What has changed for fandom in the era of Web 2.0 is that a staggering array of for-profit services and interfaces have been (and are still being) created to support fandom’s core values of collaboration and interaction. Networked publics are not just publics networked together, but they are publics that have been transformed by networked media, its properties, and its potential. Audiences desire someone to speak at them; communities desire someone to speak with them. Audiences and communities also require different social codes of participants. People practicing microcelebrity must uneasily navigate between revealing personal information to seem truthful and real to their fans and revealing something that could harm them personally and professionally. Every participant in a communicative act has an imagined audience. Audiences are not discrete; when we talk, we think we are speaking only to the people in front of us or on the other end of the telephone, but this is in many ways a fantasy.
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