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  <id>275269</id>
  <name><![CDATA[Geert Lovink]]></name>
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  <id type="integer">928467</id>
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  <title>
    <![CDATA[Zero Comments: Blogging and Critical Internet Culture]]>
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    <![CDATA[<p><p>In <em>Zero Comments</em>, internationally renowned media theorist and 'net critic' Geert Lovink upgrades worn out concepts about the Internet and interrogates the latest hype surrounding blogs and social network sites. In this third volume of his studies into critical Internet culture, following the influential <em>Dark Fiber</em> and <em>My First Recession</em>, Lovink develops a 'general theory of blogging.' Unlike most critiques of blogging, Lovink is not focusing here on the dynamics between bloggers and the mainstream news media, but rather unpacking the ways that blogs exhibit a 'nihilist impulse' to empty out established meaning structures. Blogs, Lovink argues, are bringing about the decay of traditional broadcast media, and they are driven by an in-crowd dynamic in which social ranking is a primary concern. The lowest rung of the new Internet hierarchy are those blogs and sites that receive no user feedback or 'zero comments'.</p><p>Lovink explores other important changes to Internet culture, as well, including the silent globalization of the Net in which the West is no longer the main influence behind new media culture, as countries like India, China and Brazil expand their influence. <em>Zero Comments</em> also looks forward to speculate on the Net impact of organized networks, free cooperation and distributed aesthetics.</p></p>]]>
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        <book>
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    <![CDATA[Dark Fiber: Tracking Critical Internet Culture]]>
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    <![CDATA[According to media critic Geert Lovink, the Internet is being closed off by corporations and governments intent on creating a business and information environment free of dissent. Calling himself a radical media pragmatist, Lovink envisions an Internet culture that goes beyond the engineering culture that spawned it to bring humanities, user groups, social movements, nongovernmental organizations (NGOs), artists, and cultural critics into the core of Internet development.<br/> <br/> In <em>Dark Fiber</em>, Lovink combines aesthetic and ethical concerns and issues of navigation and usability without ever losing sight of the cultural and economic agendas of those who control hardware, software, content, design, and delivery. He examines the unwarranted faith of the cyber-libertarians in the ability of market forces to create a decentralized, accessible communication system. He studies the inner dynamics of hackers' groups, Internet activists, and artists, seeking to understand the social laws of online life. Finally, he calls for the injection of political and economic competence into the community of freedom-loving cyber-citizens, to wrest the Internet from corporate and state control.<br/> <br/> The topics include the erosion of email, bandwidth for all, the rise and fall of dot-com mania, techno-mysticism, sustainable social networks, the fight for a public Internet time standard, the strategies of Internet activists, mailing list culture, and collaborative text filtering. Stressing the importance of inter-cultural collaboration, Lovink includes reports from Albania, where NGOs and artists use new media to combat the country's poverty and isolation; from Taiwan, where the September 1999 earthquake highlighted the cultural politics of the Internet; and from Delhi, where a new media center explores free software, public access, and Hindi interfaces.]]>
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        <book>
  <id type="integer">1587672</id>
  <isbn>1570271771</isbn>
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  <title>
    <![CDATA[The Art of Free Cooperation]]>
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    <![CDATA[CapitalismÂ's got a mad crush on collaboration--witness all the new<br/><br/>business models based on Â&#147;collaboration studiesÂ&#148; and expensive corporate groupware, or the billions spent on YouTube -- but beneath all the flirtation, capitalism needs to stay in control. As long as the process of collaboration is controlled by external interests, the relationship will always be one of forced cooperation. And though itÂ's way more challenging (for the participants and in terms of resistance), free cooperation will always be a lot sexier than forced cooperation.<br/><br/>        Inspired by the collaborative models of the open-source software movement, Rosa Luxemburg Award-winning German writer Christoph Spehr, Howard Rheingold, Brian Holmes and the editors critique both the received capitalist and socialist methods of social integration, and elaborate a practical vision for a third alternative, one that promises to surmount the problems of inequality on the one hand and the lack of individual freedoms on the other. Part utopian intervention, part radical polemic and activist manual, <em>The Art of Free Cooperation</em> also includes a DVD with additional texts, highlights from an international Â&#147;Free CooperationÂ&#148; conference, and a feature-length film collage, narrated by Tony Conrad, illustrating the principles of Free Cooperation through the visual<br/><br/>language of science fiction.]]>
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        <book>
  <id type="integer">1371656</id>
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  <title>
    <![CDATA[My First Recession: Critical Internet Culture in Transition]]>
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    <![CDATA[Description: My First Recession starts when the party is over. This study maps the transition of critical Internet culture from the mid-to-late 1990s Internet craze to the dotcom crash, the subsequent meltdown of global financial markets, and 9/11. In his discussion of the dotcom boom-and-bust cycle, Geert Lovink lays out the challenges faced by critical Internet culture today. In a series of case studies, Lovink meticulously describes the ambivalent attitude that artists and activists take as they veer back and forth between euphoria and skepticism. As a part of this process, Lovink examines the internal dynamics of virtual communities through an analysis of the use of moderation and &quot;collaborative filtering&quot; on mailing lists and weblogs. He also confronts the practical and theoretical problems that appear as artists join the growing number of new-media education programs. Delving into the unexplored gold mines of list archives and weblogs, Lovink reveals a world that is largely unknown to both the general public and the Internet visionaries.]]>
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        <book>
  <id type="integer">1371654</id>
  <isbn>0262122510</isbn>
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  <title>
    <![CDATA[Uncanny Networks: Dialogues with the Virtual Intelligentsia (Leonardo Books)]]>
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    <![CDATA[For Geert Lovink, interviews are imaginative texts that can help to create global, networked discourses not only among different professions but also among different cultures and social groups. Conducting interviews online, over a period of weeks or months, allows the participants to compose documents of depth and breadth, rather than simply snapshots of timely references.<br/> <br/> The interviews collected in this book are with artists, critics, and theorists who are intimately involved in building the content, interfaces, and architectures of new media. The topics discussed include digital aesthetics, sound art, navigating deep audio space, European media philosophy, the Internet in Eastern Europe, the mixing of old and new in India, critical media studies in the Asia-Pacific region, Japanese techno tribes, hybrid identities, the storage of social movements, theory of the virtual class, virtual and urban spaces, corporate takeover of the Internet, and the role of cyberspace in the rise of nongovernmental organizations.<br/> <br/> Interviewees included Norbert Bolz, Paulina Borsook, Luchezar Boyadjiev, Kuan-Hsing Chen, Cãlin Dan, Mike Davis, Mark Dery, Kodwo Eshun, Susan George, Boris Groys, Frank Hartmann, Michael Heim, Dietmar Kamper, Zina Kaye, Tom Keenan, Arthur Kroker, Bruno Latour, Marita Liulia, Rafael Lozano-Hemmer, Peter Lunenfeld, Lev Manovich, Mongrel, Edi Muka, Jonathan Peizer, Saskia Sassen, Herbert Schiller, Gayatri Spivak, János Sugár, Ravi Sundaram, Toshiya Ueno, Tjebbe van Tijen, McKenzie Wark, Hartmut Winkler, and Slavoj Zizek.]]>
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        <book>
  <id type="integer">6781115</id>
  <isbn>9078146044</isbn>
  <isbn13>9789078146049</isbn13>
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  <title>
    <![CDATA[MyCreativity Reader (My Creativity) - A Critique of Creative Industries]]>
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  <link>http://www.goodreads.com/book/show/6781115-mycreativity-reader-my-creativity-a-critique-of-creative-industries</link>
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    <id>2820458</id>
        <name><![CDATA[Ned Rossiter]]></name>
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        <book>
  <id type="integer">6468316</id>
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  <isbn13>9789078146056</isbn13>
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    <![CDATA[Video Vortex Reader: Responses to YouTube (INC Reader #4)]]>
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    <![CDATA[The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media.<br/><br/>After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives?<br/><br/>Contributors: Tilman Baumgärtel, Jean Burgess, Dominick Chen, Sarah Cook, Sean Cubitt, Stefaan Decostere, Thomas Elsaesser, David Garcia, Alexandra Juhasz, Nelli Kambouri and Pavlos Hatzopoulos, Minke Kampman, Seth Keen, Sarah Késenne, Marsha Kinder, Patricia Lange, Elizabeth Losh, Geert Lovink, Andrew Lowenthal, Lev Manovich, Adrian Miles, Matthew Mitchem, Sabine Niederer, Ana Peraica, Birgit Richard, Keith Sanborn, Florian Schneider, Tom Sherman, Jan Simons, Thomas Thiel, Vera Tollmann, Andreas Treske, Peter Westenberg.]]>
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    <id>2930491</id>
        <name><![CDATA[Sabine Niederer]]></name>
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        <book>
  <id type="integer">5968966</id>
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  <title>
    <![CDATA[Sarai Reader 01: The Public Domain]]>
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    <id>1063303</id>
        <name><![CDATA[Shudhabrata Sengupta]]></name>
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        <book>
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  <title>
    <![CDATA[Cities of Everyday Life]]>
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    <![CDATA[This year's Sarai Reader brings together a range of critical thinking on urban life and the contemporary, marked by spreading media cultures, new social conflict and globalisation. Scholars, media practitioners, critics and activists use a flow of images, memories and hidden realities to create a fascinating array of original interventions in thinking about cities today. In the context of India, where a large part of this reader has been edited, this is significant, given the frugality of writing on city life in this part of the world.]]>
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    <ratings_count>20</ratings_count>
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  <id type="integer">1371657</id>
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  <title>
    <![CDATA[Open 7: (No) Memory]]>
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    <![CDATA[How can cultural heritage be made accessible without resisting new developments, or turning city and countryside into a museum? What is the impact of the media and digital storage techniques on the social and historic process of remembrance? And what is the role of art in all this? Here, leading authors, artists, architects, and theorists answer these and other questions through numerous essays--some photographic, book reviews, and project documentation of works that address issues of progress and remembrance.]]>
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