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Collective Writing – Writing Collectives Die Konstruktion kollektiver Identität in life writings der US-Nicaragua-Solidaritätsbewegung der 1980er Verena Baier∗ 1. WRITING OUR STORY: KOLLEKTIVE UND NARRATIVE 1.1 Erzählte Kollektive Identität und die US-Nicaragua-Solidaritätsbewegung der 1980er In einer 1996 durchgeführten Studie wurden die Mitglieder dreier Theater- gruppen einer New Yorker Universität in Einzelinterviews gebeten, die Ge- schichte ihrer Gruppe zu erzählen. Sie sollten die Entwicklung der Gruppe beschreiben, auf

Doing collectivity Eine praxeologische Annäherung an Kollektivität Jan-Christoph Marschelke∗ Kollektivbegriffe stehen unter Verdinglichungsverdacht1. Schon Max We- ber hat vor ihnen gewarnt, sie seien der „Deckmantel für Unklarheiten im Denken und Wollen“, wenn nicht gar für sinistre Absichten.2 Verdingli- chung moniert auch Rogers Brubaker in seiner „Gruppismus“-Kritik: Teile der Wissenschaft behandelten Ethnien, Nationen und Rassen als „nach in- nen homogene, nach außen abgegrenzte Gruppen“, denen man Interessen

Open Collectivity Anonymous ist kein Verein, der sich durch seine Mitglieder definieren lässt, keine Organisation, deren Existenz auf einer Satzung und entspre- chenden Aufgaben basiert, keine Institution, deren Struktur feststeht. An- onymous ist auch keine Hackergruppe, wie es in den Zeitungen steht. An- onymous ist keine Gruppe. Was ist Anonymous? Anonymous tauchte zum ersten Mal auf der Online-Plattform 4chan auf, einem Anti-Facebook, das keine Profilbildung zulässt, dafür aber den anonymen Austausch von allem Möglichen.1 Mit diversen Aktionen

183Manual of Collective Mapping How to Become an Occasional Cartographer?184 185Manual of Collective Mapping How to Become an Occasional Cartographer?186 187Manual of Collective Mapping How to Become an Occasional Cartographer?188 189Manual of Collective Mapping How to Become an Occasional Cartographer?190 191Manual of Collective Mapping How to Become an Occasional Cartographer?192 193Manual of Collective Mapping How to Become an Occasional Cartographer?194 195Manual of Collective Mapping How to Become an Occasional Cartographer?196 197Manual of Collective

DCS | Digital Culture and Society | Vol. 3, Issue 2 | © transcript 2017 DOI 10.14361/dcs-2017-0211 ‘Re-appropriating’ Facebook? Web API mashups as Collective Cultural Practice Stefan Werning Abstract In contemporary debates about socio-technical implications of soft- ware, the platform metaphor, the corresponding notions of architec- tures and ecosystems as well as the formatting of data to afford ‘plat- formization’ play a central role. This approach has certainly proven fruitful to assess the role of companies like Facebook in contempo- rary society. However

4 Authorship: Complicit Collectivity Especially in art collectives, one finds – so my observation – a range of experts on complicity. Basically, collective work practices are frequently to be found in this professional field and hence also an inventive handling of organizational forms. In situations in which something new is created, the question of authorship moves center. In the process, who provides the label for the new product, the new format, the research, the art or the new perspective? Reflections on the topic of work shift automatically into a

Individual Identity/Collective History Personalizing Essence in the Museum M. Elizabeth Weiser, Ohio State University – United States That every visitor brings to the museum his or her individual characteristics is a truism of work on identity issues in museum studies. Yet what does it mean to say that every visitor has this unique, unclassifiable identity? Social scientists William Penuel and James Wertsch conclude an influential article on identity noting that, rather than an essence, identity is “a form of action that is first and foremost rhetorical

Knowledge and Collective Praxis VICTORIA PÉREZ ROYO When talking about research and presentation, we are inevitably obliged to con- sider the relational and social aspect of research – the moment in which my per- sonal quest does not only concern me, but also others. We are also bound to think about possible ways of organizing this moment of meeting and to weigh up the understanding of knowledge, research and research community we actualize. In this text, I will proceed to observe and analyse some cases I consider inter- esting in this respect, four

The Exhibition as Collective BEATRICE VON BISMARCK Der gewandelte Status von Ausstellungen zählt zu den zentralen Fragestellungen im aktuellen Diskurs um das Kuratorische: Vom Hilfsmittel, Medium und Ver- mittlungsformat im Einsatz zum Öffentlich-Werden von Kunst und Kultur haben sich Ausstellungen zu eigenständigen Werken entwickelt. Sie haben damit ihre scheinbar dienende Neutralität aufgegeben, um stattdessen mit der eigenen Lo- gik und Struktur der Produktion, Präsentation und Distribution in Erscheinung zu treten. Eine in mehrfacher Hinsicht

The Politics of Collective Attention Rudi Laermans Imagine we are in a small theatre venue somewhere in Western Europe. It’s 8.30 pm, the lights are dimmed, the performer steps in the direction of the proscenium, takes his or her place behind a lectern and starts talk- ing. That’s all that seems to happen in the eyes of all those present. Yet, something different also happens, and it is most of the time overlooked by those who are looking at a stage. Precisely because their sensory attention is absorbed by the action on the stage, those present do not notice