Das Kulturelle Gedächtnis und die digitalen Geisteswissenschaften

Das Kulturelle Gedächtnis und die digitalen Geisteswissenschaften

Das Kulturelle Gedächtnis, verstanden als generationenübergreifende, interaktionslose Kommunikation über aufgezeichnete kulturelle Äußerungen (Text, Musik, Malerei etc.), kann nur dann dauerhaft, nachvollziehbar und zuverlässig funktionieren, wenn der Kommunikationsfluss durch Gedächtnisinstitutionen organisiert wird. Gedächtnisinstitutionen pflegen das Kulturelle Gedächtnis durch den Aufbau eines Bestandes kultureller Äußerungen, ihre Bewahrung und Vermittlung an gegenwärtige und zukünftige Nutzer. Der Aufbau einer Sammlung entspringt im Analogen einer Idee, folgt einem Plan, entwickelt sich in der Geschichte, wird von Generation zu Generation weitergebaut, ist ortsgebunden, strukturiert und eingehegt. Mit anderen Worten: ermöglicht kulturelle Nachhaltigkeit. Nur, wenn sich kulturelle Nachhaltigkeit auch für über digitale Medien kommunizierte kulturelle Äußerungen gewährleisten lässt, kann auch von einem Funktionieren des Kulturellen Gedächtnisses im Digitalen gesprochen werden. Hierauf sind die digitalen Geisteswissenschaften angewiesen um nachhaltig Innovation und neues Wissen hervorbringen zu können!

AI programs exhibit racial and gender biases, research reveals

The latest paper shows that some more troubling implicit biases seen in human psychology experiments are also readily acquired by algorithms. […] The AI system was more likely to associate European American names with pleasant words such as “gift” or “happy”, while African American names were more commonly associated with unpleasant words.

These biases can have a profound impact on human behaviour. One previous study showed that an identical CV is 50% more likely to result in an interview invitation if the candidate’s name is European American than if it is African American. The latest results suggest that algorithms, unless explicitly programmed to address this, will be riddled with the same social prejudices.

Hannah Devlin, AI programs exhibit racial and gender biases, research reveals

Steve Jobs’s design philosophy was fascist more than it was exacting. 

Steve Jobs’s design philosophy was fascist more than it was exacting. The man was a not a demigod of design, but its dictator. He made things get made the way he wanted them made, and his users appreciated his definitiveness and lack of compromise. They mistook those conceits for virtues in the objects themselves.

The Myth of Apple’s Great Design, Ian Bogost

European historic mobility 0 to 2012 CE – YouTube

This video depicts European birth to death network dynamics 0 to 2012 CE according to „deceased persons“ in Freebase.com. The video was first published as Movie S1 in the article „A Network Framework of Cultural History“ by Schich et al. in Science Magazine on August 1, 2014. More: http://www.cultsci.net/

via European historic mobility 0 to 2012 CE – YouTube.

TMH5, Panel Three: Second Screens, Connected Viewing, Crowd-funding and Social Media: Re-imagining Television Consumption on Vimeo

TMH5, Panel Three: Second Screens, Connected Viewing, Crowd-funding and Social Media: Re-imagining Television Consumption on Vimeo on Vimeo

As the television industry has been remapping the flow of media content, as new forms of producers and distributors enter the marketplace, there has also been an accompanying effort to rethink their interface with media audiences. Over the past decade, we’ve seen a renewed emphasis on audience engagement strategies which seek to ensure consumer loyalty and social buzz as a way for individual programs or networks to “break through the clutter” of the multiplying array of media options. New metrics are emerging for measuring the value of engaged viewers and the kinds of social and cultural capital they bring with them when they embrace a program. So, for example, the rise of Black Twitter has been credited with helping to rally support behind new programs with strong black protagonists, such as ABC’s “Scandal,” Fox’s “Sleepy Hollow” and BET’s “Being Mary Jane.” Second-screen apps are becoming ubiquitous as television producers seek to hold onto the attention of a generation of viewers who are prone to multitasking impulses. The successful “Veronica Mars” Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. And the commercial success of “50 Shades of Grey,” which was adapted from a piece of “Twilight” fan fiction, has alerted the publishing world to the previously underappreciated value of women’s fan fiction writing as a recruiting ground for new talent and as a source for new creative material. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved?

Ivan Askwith – Lead strategist, “Veronica Mars” Kickstarter Campaign
Vicky L. Free – Chief marketing officer, BET Networks
Nick Loeffler – Director of business development, Kindle Worlds
Stacey Lynn Schulman – Senior vice president, chief research officer, Television Bureau of Advertising
Sharon L. Strover – Professor, College of Communication, University of Texas at Austin

Henry Jenkins – Co-director, Transforming Hollywood / provost professor of Communication, Journalism, Cinematic Arts and Education, USC Annenberg School for Communication

via Transforming Hollywood: The Future of Television Conference Videos (Part One)

BoxOfficeQuant — Statistics and Film

BoxOfficeQuant — Statistics and Film

As a fan of film as well as data, I saw that there was a wealth of quantitative information about the movie world, and far too few outlets that examined them – so I founded BoxOfficeQuant.com.

Through this site, I hope to report on the financial state of the industry and attempt to predict its future; but I’d also like to dive deeper into the creative aspects. I’d like show that statistics can be beautiful themselves, as well as a route to appreciate the art of film.

Thursday – 22nd August 2013 @ 09:27:46 AM

We’re not evil, we’re just subverting education http://vimeo.com/72815459

Social Intranet Strategy: Understanding Networks, Power & Politics

Social Intranet Strategy: Understanding Networks, Power & Politics

Power has been an underdeveloped concept in the rhetoric surrounding the use of social intranets. Expressions like “liberation” and “enhanced collaboration” and “empowerment” are common in marketing, but is this really the case? How does power really work in the social intranet? Who is in control? What are the opportunities of this new model? What are the risks?

Using ideas developed by communications scholar Manuel Castells and his work Communication Power, this post introduces how we can understand network power inside of organizations and contemplate its effects.

OrgOrgChart – Autodesk Research

OrgOrgChart – Autodesk Research.

The OrgOrgChart (Organic Organization Chart) project looks at the evolution of a company’s structure over time. A snapshot of the Autodesk organizational hierarchy was taken each day between May 2007 and June 2011, a span of 1498 days.

Each day the entire hierarchy of the company is constructed as a tree with each employee represented by a circle, and a line connecting each employee with his or her manager. Larger circles represent managers with more employees working under them. The tree is then laid out using a force-directed layout algorithm.

How to Live Without Irony

Irony is the most self-defensive mode, as it allows a person to dodge responsibility for his or her choices, aesthetic and otherwise. To live ironically is to hide in public. It is flagrantly indirect, a form of subterfuge, which means etymologically to “secretly flee” (subter + fuge). Somehow, directness has become unbearable to us.

Christy Wampole – How to Live Without Irony – NYTimes.com.