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Discourse analysis of web site response compilation
by Christopher A Jones 30 Oct '07

30 Oct '07

Hello all, sorry for the delay. I have been having connectivity issues today. Here is the compilation of all the responses I received. Again, thank you to all who contributed. Donald Matheson, Media discourses: analysing media texts, Berkshire: Open University Press, 2005 paul teusner Lots of fun things linked here, as well: http://ella.slis.indiana.edu/~herring/web.syll.06.html or here: http://ella.slis.indiana.edu/~herring/cmda.syll.2007.html triangulate from the two, maybe? --elijah Andre Brock (andre-brock(a)uiowa.edu) just completed a dissertation analyzing web sites relating to Hurricane Katrina, titled "Defining a Community and a Culture: Racial Identity Production by African American and Mainstream Websites". /Caroline You might also find Kress' work on multimodality and reading images helpful. Kress, G.R. and van Leeuwen, T. (1996). Reading Images: the grammar of graphic design. London: Routledge Kress, G.R. and Van Leeuwen, T. (2002). Multimodal Discourse: the modes and media of contemporary communication. London: Edward Arnold Regards, Rebecca Hi Christopher Sorry for replying so late but my Universities email server has been done all weekend and I have only just noticed your message. My doctoral research involved a discourse analysis (using Foucauldian archaeology and genealogy methods, with critical discourse analysis and sociolinguistics - somehow cobbled together) of the discourse of consumer empowerment in e-commerce including a close analysis of the ninemsn (Australian portal) website. Let me know if there is any help I can offer you as there wasn't an awful lot of available material when I was conducting my study. Cheers Dr Kylie Jarrett thanks chris jones Christopher A Jones Doctoral Student Technical Communication & Rhetoric Oklahoma State University christopher.a.jones(a)okstate.edu http://www.christopherajones.com

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Re: [Air-L] boilerplate email message research
by Marj Kibby 29 Oct '07

29 Oct '07

New Media & Society, Vol. 7, No. 6, 770-790 (2005) Email forwardables: folklore in the age of the internet Marjorie D. Kibby Email communication fosters an environment where messages have an inherent ‘truth value’ while at the same time senders have reduced inhibitions about the types of messages sent. When this is combined with a convenience and ease of communication and an ability to contact huge numbers of people simultaneously, email becomes a rapid and effective distribution mechanism for gossip, rumour and urban legends. Email has enabled not only the birth of new folklore, but also the revival of older stories with contemporary relevance and has facilitated their distribution on an unprecedented scale. Regards, Marj Dr Marjorie Kibby, Senior Lecturer in Communication & Culture Faculty of Education and Arts The University of Newcastle, Callaghan NSW 2308 Australia Marj.Kibby(a)newcastle.edu.au +61 2 49216604 >>> julie dare <jsdare(a)ozemail.com.au> 10/29/07 11:51 PM >>> Hi Can anyone advise of research or references on the social use of 'boilerplate' or prefabricated email messages - the messages containing jokes, sayings, cute messages etc. (not spam) that get forwarded on from person to person. The only direct reference I can find is the Boneva and Kraut article, Using e-mail for personal relationships: The difference gender makes, in The American Behavioral Scientist, November 2001. Many thanks Julie Dare _______________________________________________ The Air-L(a)listserv.aoir.org mailing list is provided by the Association of Internet Researchers http://aoir.org Subscribe, change options or unsubscribe at: http://listserv.aoir.org/listinfo.cgi/air-l-aoir.org Join the Association of Internet Researchers: http://www.aoir.org/

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Fwd: job posting, Bradley University
by Holly Kruse 29 Oct '07

29 Oct '07

> ---------- Forwarded message ---------- > From: Ed Lamoureux <ell(a)bumail.bradley.edu> > Date: Oct 29, 2007 1:08 PM > Subject: job posting > To: help(a)aoir.org > > > please post the following to the listserve and or website. > thanks > > > Edward Lee Lamoureux, Ph. D. > Associate Professor, Multimedia Program > and Department of Communication > Co-Director, New Media Center > 1501 W. Bradley > Bradley University > Peoria IL 61625 > 309-677-2378 > <http://slane.bradley.edu/com/faculty/lamoureux/website2/index.html> > <http://gcc.bradley.edu/mm/> > AIM/IM & skype: dredleelam > Second Life: Professor Beliveau Bradley University Slane College of Communications and Fine Arts Multimedia Program Position Announcement Assistant Professor (Tenure Track) The Multimedia Program at Bradley University is seeking technologically sophisticated candidates with a strong research agenda for a full-time tenure track Assistant Professor in Multimedia. Preferred applicants will possess cutting edge digital production skills and a firm understanding of new media theory and have the ability to teach and create in an established and innovative undergraduate program. The rank for this position is Assistant Professor (tenure-track). Position: Assistant Professor, Multimedia Program The Multimedia Program at Bradley University is seeking a technologically sophisticated candidate to fill a tenure-track position requiring teaching, research/creative production, and service responsibilities. The position begins Fall semester (August), 2008. We are seeking theorists, media artists, and technologists who conduct new media creative production or research. Responsibilities: -Teaching classes in the Multimedia Program which may include areas such as new media/interactive design and development, digital culture and theory, video, animation, scripting/programming, interactive installations, gaming, interface design, intermedial performance, mobile device programming, social informatics, and interface design. -Conducting research/creative production in areas of new media specialization. -Collaborating with peer departments within the college (Music, Communication, Theatre Arts, Art) and at Bradley (for example, Computer Science) and with students in the development of team based projects, as well as assisting in the development of the program and curriculum. -Participating in service activities. -Advising/mentoring students. Rank Assistant professor. Tenure-track appointment with appropriate terminal degree. Qualifications Appropriate terminal degree and new media-related experience. A record of successful teaching at the college, university, or junior college level (teaching assistant with primary course responsibility experience qualifies). A strong portfolio of creative accomplishment and/or publication history. Salary Position salary will be commensurate with qualifications and relevant teaching or professional experience. Starting Date August, 2008. Application Applicant files are “complete” with the reception of: Letter of application Current CV Samples of publications, creative work, or research Evidence of effective college/university/junior college teaching (e.g., quantitative summaries of teacher evaluations; peer or supervisory reviews of teaching; teaching awards, etc.) Artist's statement or research agenda Three current letters of recommendation and up to 3 additional references should be sent to: Edward Lee Lamoureux, Ph. D. Search Committee Chair Multimedia Program Bradley University GCC 200 1501 W. Bradley Avenue Peoria, Illinois 61025 ell(a)bradley.edu Applicants may send digital and/or hard copy files of application materials. Online or digital materials may be submitted as supplementary aspects of the application file. Position begins August, 2008. Review of candidates’ credentials will begin immediately and continue until the position is filled. Incomplete applications will not be reviewed. Questions regarding the position and application materials can be directed to Ed Lamoureux at 309-677-2378 or by email at ell(a)bradley.edu. Bradley University, highly rated by U.S. News and World Report, is an independent, comprehensive university enrolling 6000 students. Midway between Chicago and St. Louis, Peoria hosts numerous professional arts organizations and is home for many interactive media firms and outlets. The Multimedia Program is in the Slane College of Communication and Fine Arts with the Departments of Art, Communication, Music, and Theatre Arts and consists of approximately 100 majors (and 40 additional minors) taking course work in Art/Graphic Design, Communication/Audio and Video, Multimedia, and supporting departments (music, computer science, education, sociology). The program is unique among its peers and offers students and faculty numerous opportunities for professional and collaborative sponsored projects. Bradley’s renowned Caterpillar Global Communication Center, completed in 1996, is home to the Multimedia Program and the Department of Communication. The CGCC houses computer labs, videoconference facilities, high-end multimedia classrooms and technology and the interdisciplinary radio-television facilities associated with the Department of Communication. The Multimedia Program also utilizes facilities in the Heuser Art Center, the home of Multimedia’s interdisciplinary partner, the Department of Art. For additional information visit http://multimedia.bradley.edu/, http://www.bradley.edu, and http://slane.bradley.edu/. Bradley University is an Equal Opportunity and Affirmative Action Employer. The administration, faculty and staff are committed to attracting qualified candidates from groups currently underrepresented on our campus.

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Virtual Community of Practice Essential Bibliography
by Rosanna Tarsiero 29 Oct '07

29 Oct '07

Hi everyone, my name is Rosanna Tarsiero, I'm a consultant and author in the field of virtual communities of practice. Last time I update my essential bibliography on this topic was more or less one year ago. Questions: 1) does any of you have a bibliography that can be shared with me? 2) does any of you know of recent works (2006-2007) written on this topic? I'm after *any* work, theoretical/practical, quantitative/qualitative. Thank you in advance Rosanna Tarsiero

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Visual Wikipedia
by Conor Schaefer 29 Oct '07

29 Oct '07

I don't think anyone's posted this to the list recently, but I was traveling the past week. I certainly don't recall seeing it any earlier! There's a very interesting mashup called "WikiPediaVision" that shows the geographic origin of edits on Wikpedia, moments after they occur. It'd make a fascinating party mural, to leave this up on a plasma screen! (But then, maybe I have odd taste in parties...) http://www.lkozma.net/wpv/index.html Conor

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Do we read the same books?
by Nancy White 29 Oct '07

29 Oct '07

I just joined Shelfari to connect with other book lovers. Come see the books I love and see if we have any in common. Then pick my next book so I can keep on reading. Click below to join my group of friends on Shelfari! http://www.shelfari.com/Register.aspx?ActivityId=33598550&InvitationCode=4d… Nancy White Shelfari is a free site that lets you share book ratings and reviews with friends and meet people who have similar tastes in books. It also lets you build an online bookshelf, join book clubs, and get good book recommendations from friends. You should check it out. -------- You have received this email because Nancy White (nancy.white(a)gmail.com) directly invited you to join his/her community on Shelfari. It is against Shelfari's policies to invite people who you don't know directly. Follow this link (http://www.shelfari.com/actions/emailoptout.aspx?email=air-l@listserv.aoir.…) to prevent future invitations to this address. If you believe you do not know this person, you may view (http://www.shelfari.com/o1517244625) his/her Shelfari page or report him/her in our feedback (http://www.shelfari.com/Feedback.aspx) section. Shelfari, 616 1st Ave #300, Seattle, WA 98104

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Re: [Air-L] Website Discourse Analysis
by Jones, Christopher 29 Oct '07

29 Oct '07

Sorry for the delayed response. I will compile the info from the messages and send it out later this afternoon. thanks chris -----Original Message----- From: Pavlidou, A. [mailto:ap246@leicester.ac.uk] Sent: Mon 10/29/2007 3:37 AM To: Jones, Christopher Subject: [Air-L] Website Discourse Analysis Dear Christopher I am writing as one of the Air-L members, having read your recent communication about 'Website Discourse Analysis'. I was wondering whether you would be able to share some of the valuable resources you were given by members of the Air-L as I am also in the middle of analysing the discourse in an online forum... I was also wondering whether you are similarly interested in 'content analysis' in an 'online context' and, if yes, whether you would be able to suggest any useful literature?.. Kindest regards Kate -------------------------------------------- Kate Pavlidou Programmes Coordinator University of Leicester Institute of Lifelong Learning 128 Regent Road Leicester LE1 7PA * UK Tel: +44 (0)116 252 5915 Fax: +44 (0)116 252 5909 Email: ap246(a)le.ac.uk ============================================ air-l-bounces(a)listserv.aoir.org; on behalf of; Jones, Christopher [christopher.a.jones(a)okstate.edu Thank you everyone who sent suggestions of articles, books, and websites. I really appreciate it and you have given me a great start with resources. Your help is greatly appreciated. Kindest regards, christopher jones oklahoma state university

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DVD software sharing by purchasers
by Robert Withers 29 Oct '07

29 Oct '07

Thanks to Hugh Brown for an impassioned and elaborate discussion of free distribution of music on internet. The argument was economically rather than ethically based. I'm interested in a related subject that I can find little discussion of through searches. This is the sharing of copyrighted software by computer-sophisticated individuals. Everything from MS office to Adobe Creative Suite to Final Cut Pro seems to be passed along from user to user, often loaded on used machines that are sold to other users. The documentation and keys aren't sold, but these programs that retail for thousands of dollars are passed along as a matter of course. The typical explanations: No one can afford these programs. The corporations are greedy. The corporations actually want their stuff bootlegged so the hackers who work in the other corporations will get their corporations to buy it. Does anyone know of any discussion or writing anywhere on this topic? On another related subject, I found a pdf of a photocopy of a UK library edition of On Grammatology available for free download while Columbia U Press is selling a copyrighted version on Amazon. I wonder who are Derrida's heirs and whether they care if they're getting royalties or not. Cheers, Robert Withers Independent Media Artist New York City Moderator: I am trying to send this as plain text--I don't know if earthlink webmail does something different, but this is a brief section of a large digest. >------------------------------ > >Message: 14 >Date: Fri, 26 Oct 2007 11:38:54 +1000 >From: "Hugemusic" <hmusic(a)ozemail.com.au> >Subject: [Air-L] Digital music economics >To: <air-l(a)listserv.aoir.org> >Message-ID: <005601c81770$f9247070$0901010a@Office2> >Content-Type: text/plain; charset="us-ascii" > > >Hi all. > >I've been writing the theory compnent of my thesis, so I've been out of the >loop for a while, but I got irritated by a series of blog posts in various >places, the last one of which triggered the following. I'm interested in >what other peple think. It will appear on my blog shortly: > > >Music files may be abundant, but listener value and attention are still >scarce. > >By Hugh Brown > >For some time, the independent music industry has been crowded with people >discussing the benefits of giving music recordings away and the consensus, >much to my disgust, seems to be that it's a great idea - nay, a necessity - >for any indie. Just put the stuff out there and good things will come your >way because that's what the new "economics of abundance" dictates. This >argument is embodied in <a >href="http://www.techdirt.com/articles/20070503/012939.shtml">this Techdirt >article</a>, in which Mike discusses the economics of abundance and >therefore the virtues for an artist/band of making music available for free. >This is an example of slightly muddled and mistaken thinking but before I >show why, I want to get a couple of things straight. > >1) Yes, there can be benefits to giving away recordings. But, as Mike puts >it rather succinctly: "Giving stuff away for free needs to be part of a >complete business model that recognizes the economic realities." Don't >assume that giving recordings away will necessarily get you anywhere. > >2) The belief that music should be free and that if it's not people are >perfectly justified in ripping it off is a blight on society and must be >stamped out (not that it ever will be). I'm all for the cyberpunk ideal and >breaking down barriers to progress, but I believe in those things because I >think they make for a more reasonable set of conditions for mutual benefit >and development. Stealing music, just like stealing bread, cars or life >savings, is not being more reasonable. It is being completely one-sided and >depriving the other party of the opportunity to renegotiate. If you don't >like the price, send a signal by not buying - it has the same effect on the >seller but retains your moral <a >href="http://en.wikipedia.org/wiki/Rectitude">rectitude</a>. > >Having set that straight, there are a couple of points I take issue with in >Mike's article. The first is his quote from Jefferson regarding ideas: "Its >peculiar character, too, is that no one possesses the less, because every >other possesses the whole of it". This refers to what economists call a "<a >href="http://www.pitt.edu/~upjecon/MCG/MICRO/GOVT/Pubgood.html">non-rivalrou >s</a>" good. One person having or using it does not prevent another from >having or using it. The best example of a non-rivalrous good is air - anyone >can breathe it without preventing another from breathing it. However, anyone >who's lived in a polluted city like, say <a >href="http://www.unu.edu/unupress/unupbooks/uu35ie/uu35ie00.htm">Tokyo</a>, >LA or Beijing will know that not even air is perfectly non-rivalrous. One >person's "use" of the air can make that air unbreathable to other people. >Similar limits apply to roads, trains, mail, etc. In any real case there are >limits to non-rivalry. > >Where this causes problems with respect to ideas, however, is in assuming >that each use of an idea is identical - or at least equivalent. Jefferson, >like Newton and Einstein, was subsequently proved slightly wrong. One of the >problems with ideas, modern psychology tells us, is that no two people have >the same ones and, as any teacher will tell you, transferring an idea from >one head to another is an imprecise and frustrating process (sometimes >that's a good thing). This is largely because everyone has a previously >collected set of idea into which they must fit the new idea - and sometimes >it doesn't fit at all. As the saying goes "a little knowledge is dangerous". >The more complex the idea, the more difficult is its transferal from one to >another. > >When it comes to something as complex as artistic expression, as opposed to >the sequence of ones and zeros that make up a digital file, the transfer is >almost never perfect. While digital files may be perfectly reproducible >(see my next point about that), music is not. The greatest art is ambiguous, >and this is why it survives: it makes us question, debate and reconsider our >lives and our place in the world. It does not supply answers, it asks >questions, allowing us to find our own answers. This point lies at the core >of why many of the arguments from those who talk up the virtues of "<a >href="http://gerdleonhard.typepad.com/the_future_of_music/2005/01/music_like >_wate.html">music like water</a>" and treating music as a utility or paying >for it <a >href="http://www.openrightsgroup.org/press-releases/music-industry-proposes- >isp-tax/">via flat taxes</a> or <a >href="http://www.nytimes.com/2005/10/10/technology/10ipod.html?_r=1&oref=slo >gin">fees attached to digital player sales</a> are just plain wrong: they >assume that the value each consumer holds for each song, as with each >digital file, is identical. It is not. In terms of their value to listeners, >digital files are not songs, or games, or movies. They are merely the >electronic embodiment of one version of them. To use the two interchangeably >is to miss the entire point of human experience. > >So when Mike says to "Redefine the market: the benefit is musical enjoyment" >he is quite correct. But he is wrong in the next line - "the music itself" >is NOT infinite. The value of the music, as opposed to the vehicle for the >recording's distribution, lies in the experience of the listener - whether >at a live show, or on the radio driving to work, at the time of a first >kiss, watching a poignant moment on a favourite movie, or the birth of a >child ... whatever. Even if you send me a copy of your favourite new song >discovery, I may not attach the same value to it that you do, simply because >of our mindsets at the time of discovery. And its value in an exchange >between artist and fan lies in the relationship between those two, which >does not necessarily lie in any particular song (or digital file). <a >href="http://www.inrainbows.com/">Radiohead understood this</a>, and >although many people (myself included) downloaded the album for free on a >"try before you buy" basis, many others paid them handsomely. I have no >doubt that they have more than recouped the costs of production. > >The next point I want to object to is the use of the word "<a >href="http://en.wikipedia.org/wiki/Infinite">infinite</a>" when talking >about the economics of "<a >href="http://en.wikipedia.org/wiki/Abundance_%28economics%29">abundance</a>" >. Abundant and infinite are NOT the same thing. "Non-scarce" is closer to >"abundant" than "infinite". And in any case, infinite does not exist, it can >only ever be approached. Many web servers have crashed because of excess >demand while attempting to distribute "infinite" digital goods - rendering >them instantly finite as far as consumers are concerned. There are limits to >bandwidth and many other factors involved in supply of digital goods. It is >simply incorrect to refer to the goods as infinite. > >Finally, releasing the "infinite good" does NOT necessarily increase >marketsize. This is a well-documented furphy. The best it can hope to do is >increase the <em>potential</em> marketsize, and many other activities will >achieve the same thing. This is because in an abundant digital economy, >marketsize is limited by attention scarcity. This is NOT a new condition for >indies. <a >href="http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.htm >l?in_article_id=468443&in_page_id=1773">Prince</a> and Radiohead used this >to great effect; their stunts garnered them huge amounts of attention. But >it was not the giving away of the music they benefited from, it was the >attention raised because of the novelty of that approach. Had Radiohead >posted their new album as free streams for people to listen to before >deciding to buy, they would have provided me with the same service and >access - but would not have solved the attention scarcity problem because >that's been done plenty of times before. Now that that novelty has been >realised, it will not work so well again for them or for anyone else. >Incidentally, Prince did not give his CD away - he sold it in bulk to a >newspaper for more than he probably would have made at retail. He's a smart >lad. On the other hand, the poster child for online music business, <a >href="http://www.jonathancoulton.com/primer/get">Jonathan Coulton</a>, does >NOT give his digital files away for free (though he's probably not about to >sue file-swappers for copying them). Every posting of music on his site >links to a pay-for download (one of them is the "pay what you like" site, >SongSlide), and you can listen to the streams for free. > >The real problem is that if you don't find some way to tell people that the >music is available, and find some way to make it relate favourably to their >lives, you will gain nothing. This has been the experience of many artists - >myself included - whose music has been available for free for months and >whose marketsize remains negligible and unsustainable. Similarly, making the >music is available will make no difference if it is bad. In fact, it may >deter people from coming to shows and buying merchandise - such is the >double-edged sword of attention. > >The upshot of all of this is that what indies need to be discussing is the >best means for overcoming attention scarcity, not devaluing music recordings >by implying that giving them away is necessarily beneficial. As <a >href="http://lefsetz.com/wordpress/index.php/archives/2007/01/25/668/">Bob >Leftsetz points out</a>, finding ways to overcome attention scarcity is one >of the great assets that the major labels and big players retain. Giving >away recordings without addressing the attention scarcity problem is playing >back into the hands of "those who refuse to give up their old business >models". The only way for indies to compete is to optimise their revenue >streams, not compromise one in the hope of catching up with another. > >Cheers, >Hughie > >The Genre Benders: "I am leaving! I am leaving!" > - out now at www.genrebenders.com > www.cdbaby.com/genrebenders

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boilerplate email message research
by julie dare 29 Oct '07

29 Oct '07

Hi Can anyone advise of research or references on the social use of 'boilerplate' or prefabricated email messages - the messages containing jokes, sayings, cute messages etc. (not spam) that get forwarded on from person to person. The only direct reference I can find is the Boneva and Kraut article, Using e-mail for personal relationships: The difference gender makes, in The American Behavioral Scientist, November 2001. Many thanks Julie Dare

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online craft social networks?
by Radhika Gajjala 29 Oct '07

29 Oct '07

Hi a while ago someone asked about online craft social networks (such as etsy.com and ravelry.com and so on). I am examining the discourse of "Only Handmade" in relation to global markets and this is one of my sites of investigation. I was wondering if anyone on this list had any info on research being done in this area. you can reply offlist. thanks, r Radhika Gajjala Associate Professor and Graduate Coordinator School of Communication Studies 302 West Hall Bowling Green State University Bowling Green, OH 43402 http://personal.bgsu.edu/~radhik http://www.cyberdiva.org/blog

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