- Air-L - lists.aoir.org

Paper Link:
by Gerard Cheshire 01 May '19

01 May '19

Dear List Members, The peer-reviewed paper titled The Language and Writing System of MS408 (Voynich) Explained is now published in the journal Romance Studies: https://www.tandfonline.com/doi/full/10.1080/02639904.2019.1599566 Regards, Dr. Gerard Cheshire. Research Associate. University of Bristol. https://bristol.academia.edu/GerardCheshire

1 0

[DEADLINE EXTENDED] What is text, really? TEI and beyond
by gimena del rio riande 01 May '19

01 May '19

DEADLINE EXTENDED: May 12th! *What is text, really? TEI and beyond* The Program Committee has extended the call for proposals for the 19th annual Conference and Members’ Meeting of the Text Encoding Initiative Consortium (TEI), to *May 12th*. This year’s TEI conference will be held September 18–20, 2019 (Wed-Fri), at the University of Graz, Austria; with workshops September 16–17 (Mon-Tue). This TEI conference wants not only to reach the community interested in digital representation and processing of text, but also to encourage scholars working on the fringes of the TEI and beyond to join us in discussion. Proposals must be submitted online via ConfTool: https://www.conftool.com/tei2019/. More information: https://graz-2019.tei-c.org/call-for-papers/ Dra. Gimena del Rio Riande http://orcid.org/0000-0002-8997-5415 Investigadora Adjunta. IIBICRIT, CONICET (Instituto de Investigaciones Bibliográficas y Crítica Textual) - http://www.iibicrit-conicet.gov.ar/ <http://www.iibicrit-conicet.gov.ar/> Twitter: @gimenadelr Asociación Argentina de Humanidades Digitales: http://aahd.net.ar Coordinadora Humanidades Digitales CAICYT Lab: https://hdcaicyt.github.io/ Marcelo T. de Alvear 1694 (1060). Buenos Aires - Argentina (54)-11-4129-1158 [image: Mailtrack] <https://mailtrack.io?utm_source=gmail&utm_medium=signature&utm_campaign=sig…> Remitente notificado con Mailtrack <https://mailtrack.io?utm_source=gmail&utm_medium=signature&utm_campaign=sig…> 01/05/19 0:05:57

1 0

Fwd: Government of Ireland’s Disruptive Technologies Innovation Fund
by Gianluca Miscione 30 Apr '19

30 Apr '19

Perhaps of interest Government of Ireland’s Disruptive Technologies Innovation Fund: https://www.gov.ie/en/campaigns/disruptive-technologies-innovation-fund/ Gianluca Gianluca Miscione *University College Dublin <https://people.ucd.ie/gianluca.miscione> (on Sabbatical Leave at the University of Zürich IMRG <https://www.ifi.uzh.ch/en/imrg/people/gianluca.html>, DSI <https://www.dsi.uzh.ch/en/about/team/fellows.html>, BCC <http://blockchain.uzh.ch/pages/members.html>)* *email**: gianluca.miscione(a)uzh.ch <gianluca.miscione(a)uzh.ch>* *office**: 2.D.12 Binzmühlestrasse 14* *CH-8050 Zürich, Switzerland*

1 0

Re: [Air-L] theoretical framings of dark patterns in design
by Michael Dieter 30 Apr '19

30 Apr '19

I wrote a short chapter some time ago on dark patterns in this collection using a range of different sources, a sort of evil media inspired analysis - https://link.springer.com/chapter/10.1057/9781137437204_13 I have to admit it was a bit sketchy, my thoughts on it have probably changed a bit. I still think the lineage through media theoretical and anthropological accounts of trapping is quite interesting though, including people like Alfred Gell or Vilém Flusser - see Nick Seaver's recent work on algorithms as traps or Benedict Singleton's dissertation work on the rise of service design for some uses of these frameworks. There's also the history of design patterns first proposed by architect Christopher Alexander, which was then taken up by software developers in the 80s and 90s, most famously through object-oriented programming, which spread into through other more specific domains like interface design or even business thinking. O'Reilly's Web 2.0 manifesto was subtitled "Design Patterns and Business Models for the Next Generation of Software" after all. Design patterns establish a shared vocabulary, a shared set of practices that are easily recognisable and, of course, reiterable. Alexander described them in terms of a language - and in his respect, they offer an interesting way to establish a context, a collective comprehension. The concept also has links to information theory in Alexander's early experiments with computational analysis of urban space, and habituation in the reiterative practices of programming or user interaction more generally (another way to read what Wendy Chun calls habitual media imo). But that said, Harry Brignull's analysis of dark patterns is still the best account in my opinion - and I wouldn't describe this as 'a journalism', but rather an internal critique within the UX industry to identify and share contexts where unethical interface design is practiced. And quite a successful intervention at that! > > From: "Love, Patrick S" <lovep(a)purdue.edu> > Date: 30 April 2019 at 15:53:15 CEST > To: Daniel Marques <danielmarquescontato(a)gmail.com> > Cc: "air-l(a)listserv.aoir.org" <air-l(a)listserv.aoir.org> > Subject: Re: [Air-L] theoretical framings of dark patterns in design > > I’ve found this piece particularly instructive: > > https://www.presenttensejournal.org/volume-6/building-dark-patterns-into-pl… > Trice and Potts (2018) Building Dark Patterns into Platforms: How GamerGate Perturbed Twitter’s User Experience. > > > > > Patrick Love > > PhD Candidate, Purdue University Rhetoric and Composition > > Technical Writer, Center for Science of Information, NSF STC > > Technology Mentor, Purdue ICaP > > > On Apr 30, 2019, at 8:26 AM, Daniel Marques <danielmarquescontato(a)gmail.com<mailto:danielmarquescontato@gmail.com>> wrote: > > I believe this paper is a good starting point: > > https://doi.org/10.1515/popets-2016-0038 > > Tales from the Dark Side: Privacy Dark Strategies and Privacy Dark Patterns > Christoph Böschchristoph.boesch(a)uni-ulm.de1 > , > Benjamin Erbbenjamin.erb(a)uni-ulm.de1 > , > Frank Karglfrank.kargl(a)uni-ulm.de1 > , > Henning Kopphenning.kopp(a)uni-ulm.de1 > and > Stefan Pfattheicherstefan.pfattheicher(a)uni-ulm.de2 > > Em ter, 30 de abr de 2019 às 09:16, Anna Paukova <anna.paukova(a)gmail.com<mailto:anna.paukova@gmail.com>> > escreveu: > > Dear all, > > i am searching for any relevant theoretical readings which would help > framing the nature of dark patterns ( > https://whatis.techtarget.com/definition/dark-pattern) how they function > etc. > I was wondering if any scholar work on the subject exists or it is rather a > 'journalism'. > > Thanks in advance, > > Anna Paukova > UX Researcher > Moscow > _______________________________________________ > The Air-L(a)listserv.aoir.org<mailto:Air-L@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/ > > > > -- > *daniel marques* | +55 71 9 9998 7903 > > Professor Assistente | CECULT/UFRB > > http://lattes.cnpq.br/9571839733024528 > @daniel_kk | facebook.com/danielmarqueskk<http://facebook.com/danielmarqueskk> > _______________________________________________ > The Air-L(a)listserv.aoir.org<mailto:Air-L@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/ > _______________________________________________ > 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/ -- Michael Dieter http://twitter.com/#!/mdieter

3 2

Re: [Air-L] theoretical framings of dark patterns in design
by Seda Guerses 30 Apr '19

30 Apr '19

Dear Anna, We are organizing a summer school on the intersection of dark patterns and privacy, you can find more information about it here: https://isp.cs.ru.nl/2019/ One of the UX based framings was published by Gray et al.: http://colingray.me/wp-content/uploads/2018_Grayetal_CHI_DarkPatternsUXDesi… We also asked on twitter where other than in UX people see dark patterns, you can find that thread here: https://twitter.com/sedyst/status/1111238148762361857 <https://twitter.com/sedyst/status/1111238148762361857> Hope that helps. Also looking forward to how this thread evolves. Best, s.

1 0

theoretical framings of dark patterns in design
by Anna Paukova 30 Apr '19

30 Apr '19

Dear all, i am searching for any relevant theoretical readings which would help framing the nature of dark patterns ( https://whatis.techtarget.com/definition/dark-pattern) how they function etc. I was wondering if any scholar work on the subject exists or it is rather a 'journalism'. Thanks in advance, Anna Paukova UX Researcher Moscow

3 2

Justice and Order in the Datafied Society - ICA pre-conference
by Lina Dencik 30 Apr '19

30 Apr '19

Dear all - there are still a few places left for the ICA Pre-Conference Justice and Order in the Datafied Society: Connecting Communications and Legal Theory that will take place on the 24th of May at the American University, Washington, DC. Deadline for registration is 5th of May! Programme 8.30 Keynote 1: Mark Andrejevic Chair: Lina Dencik 9.15 Panel 1: Autonomy and voice in the datafied society Joseph Turow, Usha Raman, Ellen Goodman Chair: Andreas Hepp 10.45 Break 11.00 Panel 2: The normative bases of data justice Solon Barocas, Anna Lauren Hoffmann, Wolfgang Schulz Chair: Karin van Es 12.30 Keynote 2: Julie Cohen Chair: Nick Couldry 13.15 Lunch 14.00 Panel 3: The moral order of datafied publics Payal Arora, Thomas Poell, Frank Pasquale Chair: Patricia Aufderheide 15.30 Panel 4: The datafication of modernity’s institutions Natali Helberger, Alison Hearn Chair: Andrew Iliadis 16.30 Wrap-up If you want to join us, please register here: https://www.icahdq.org/event/JusticeandOrderintheDatafiedSociety<https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.icah…> Best, Nick Couldry, Lina Dencik, Andreas Hepp, and Karin van Es (Organising Committee) -- Dr Lina Dencik Reader / Co-Director Data Justice Lab PI Data Justice: Understanding datafication in relation to social justice (DATAJUSTICE) ERC Starting Grant 2018-2023 School of Journalism, Media and Culture, Cardiff University Two Central Square, Central Square, Cardiff CF10 1FS Email: DencikL(a)cardiff.ac.uk<mailto:DencikL@cardiff.ac.uk>, Tel: +44 (0)29 208 75461 Twitter: @LinaDencik Fellow, Center for Media, Data and Society, Central European University

1 0

ICA post-conference on comparative privacy research
by Dmitry Epstein 30 Apr '19

30 Apr '19

Dear colleagues, On behalf of Comparative Privacy Research Network we want to invite you to an ICA post-conference: "Privacy Research Across Cultural, Political, and Geographic Boundaries." Our day-long event will take place on May 29, at the Graduate School of Arts & Sciences, Georgetown University. The deadline for registration is May 3 and the registration fee of $50 also covers your lunch. Full program and additional details: http://www.thinkmacro.org/cprn/ica2019/program/ Registration by May 3: https://www.icahdq.org/event/PrivacyResearch_PostConf2019 I hope you will join us for what promises to be an interesting and engaging day. Best, Kelly, Carsten, Dmitry, and CPRN

1 0

history of Plato's Phaedrus as example of moral / media panic?
by Charles M. Ess 30 Apr '19

30 Apr '19

Dear AoIRists, Please be kind and patient with me, recalling that my formal academic training was in history of philosophy, German literature, and ancient Greek. I am comparatively still a little wet around the ears with regard to media and communication studies - or so it seems in this instance. I keep encountering discussions of moral / media panics that consistently invoke Plato's _myth_ of the invention of writing. This seemingly standard invocation puzzles me greatly for a long list of reasons. I include a short list below for anyone with time and interest in looking them over. The upshot is that I'm left wondering: who - and when - introduced what has apparently become received tradition in these domains that the mythos (see "2" below) of the invention of writing in the Phaedrus is a prime or supportive example moral or media panic? This is, as they say in administration-speak, an appreciative inquiry. I'm genuinely curious for the sake of better understanding how this trope first appeared, etc - as well as genuine worried that I may have somehow missed something that is considered elementary and obvious for those of you with academic training more directly within media and communication studies. Many thanks in advance for any enlightenment and eludation! best, - charles ess PS: The short list includes: 1) the account is taken (bloody and screaming) out of the context of the larger dialogue in the Phaedrus. When read within the larger context - beginning with (the young) Phaedrus' effort to impress (perhaps seduce) Socrates by memorizing a speech he has copied down on a scroll and initially tries to hide from Socrates - the mythos works much more immediately as a lightly veiled (and hence, pedagogically speaking, likely more successful) chastisement of Phaedrus' efforts at dissimulation. By no means a wholesale critique of writing per se. 2) The account is explicitly delivered as a _mythos_ - too easily translated as a "myth." But: a _mythos_ in Plato is a technical / philosophical form, going well beyond and in some ways directly contradicting more everyday notions of "myth" as a false story; a mythos is specifically an _oral_ story, with its own set of distinctive strengths and limitations. It is often used in Plato when interlocutors, attempting to pursue a reasoned argument (logos), come to an impass. The relation between mythos and logos is hence often complementary, not contradictory. 3) It would seem very odd for an author of multiple dialogues, of sometimes staggering sophistication and literary nuance, to sincerely believe that writing is somehow an entirely suspect technology. Different from orality, certainly, as is suggested by the consistent presentation of Socrates as an oral teacher, the careful use of mythos vs. logos, etc. - but hardly an example of media / moral panic. And so on. Again: what am I missing? Again, many thanks, - c. -- Professor in Media Studies Department of Media and Communication University of Oslo <http://www.hf.uio.no/imk/english/people/aca/charlees/index.html> Postboks 1093 Blindern 0317 Oslo, Norway c.m.ess(a)media.uio.no

9 19

Re: [Air-L] history of Plato's Phaedrus as example of moral / media panic?
by Charles M. Ess 30 Apr '19

30 Apr '19

Dear Virginia and colleagues, a thousand thanks for this - for many reasons, but especially two. First, you identify what in my reading is a highly influential text from 1997 that seems to come close to characterizing the critique of writing in the Phaedrus as a media panic, if not a moral panic. This is 12 years earlier than one of the texts I'm looking more closely into. Second, you make - with more detail and nuance - the points I would make about reading the dialogues, most especially in the Phaedrus, as strongly pedagogical in nature, as well as far more nuanced than the moral / media panic trope can do justice to. FWIW, the associations with and illuminations vis-a-vis remix, etc. also make good sense to me - but this will require more attention and reflection on my part. There's clearly a good paper or two in here ... hope to get to it one of these days. Best of luck with your current insanities - again, a thousand thanks and all best, - charles On 25/04/2019 22:48, Virginia Kuhn wrote: > Dear Charles, > This may not be helpful but I did write a bit about Ong, Havelock, Plato > and new media in a piece called "The Rhetoric of Remix" (2012, > /Transformative Works and Cultures/). I've excerpted a few paragraphs > from the second section below (though it's open access > <https://journal.transformativeworks.org/index.php/twc/article/view/358>): > in which I specifically speak to Plato's concerns about both writing and > poetics: > > [2.2] The concept of secondary orality advanced in Walter Ong's > (1982) work is premised on his chronicling of the progression of > oral culture to literate culture and, finally, to current secondary > or residual orality that combines characteristics of each. In > looking at Ong's list of features that characterize orality, we can > see many overlaps with remix: "additive rather than subordinative; > aggregative rather than analytic; redundant or 'copious'; > conservative or traditionalist; close to the human lifeworld; > agonistically toned; empathetic and participatory rather than > objectively distanced; homeostatic; situational rather than > abstract" (37–49). However, Ong's work has far more to offer to > digital scholarship. In particular, his analysis of Homer and Plato > can help reveal the roots of current epistemological boundaries > between genres considered to be factual and those seen as fictive. > > [2.3] The collectively authored and formulaic nature of Homeric epic > poetry is old news; it is key to Janet Murray's (1997) notion of > cyberdrama, for instance. However, the link between Homer and > current conceptions of collaboratively authored narrative (or > digital storytelling, as it is increasingly being referred to) is > more tenuous than has been acknowledged. Milman Parry's research on > Homeric extant texts in the 1930s dashed the prevailing view of > Homer as a genius who single-handedly constructed masterpieces such > as the /Illiad/ and the /Odyssey,/ although his work was not > expanded on until about 30 years later, when Albert Lord extended > Parry's research on Homer to consider its implications for > performance and literature, and Eric Havelock, Ong's frequent > collaborator, used it to explore speech and literacy. The difference > in approach leads to differing conclusions about the boundaries > between literature and rhetoric. Parry's careful analysis of the > /Odyssey/ and the /Iliad/ revealed them to be highly formulaic, and > as Ong explains, "The meaning of the Greek term 'rhapsodize,' > /rhapsoidein,/ 'to stitch song together,' became ominous: Homer > stitched together prefabricated parts. Instead of a creator, you had > an assembly-line worker" (1982, 22). Immediately we can see that the > current connotation of /rhapsody/ is far more romantic and poetic > than its original meaning; indeed, this view of rhapsody evokes > sewing and its analogy to film editing as well as to remix (as clips > are stitched together), none of which have traditionally been seen > as particularly creative endeavors. From a discursive view, however, > these prefabricated parts are necessary when one must transmit > knowledge orally; it must be repeated to be remembered and passed on > to others, so formulaic thought was "essential for wisdom and > effective administration" (Ong 1982, 24). In this light, Homeric > epic was not the province of entertainment but of governance. These > prefabricated parts also change slightly with each retelling over > the centuries, and so the /Iliad/ and the /Odyssey,/ when analyzed, > are shown to be a patchwork of "early and late Aeolic and Ionic > peculiarities" (23) whose forms were reified during the centuries > after the invention of the Greek alphabet as they were written down. > It would be misguided to see Homeric poetry as consonant with the > current conception of literature, which is framed as distinct from > rhetoric. In Homeric times, these distinctions did not exist. It > would be equally misguided to view this collective authorship as the > sort of crowd-sourced democratic practice many of us hope to attain > in digital space; the changes to the /Odyssey/ and the /Iliad/ took > place over centuries, as is evidenced by their blend of alphabetic > conventions, and these blended wordings were not accomplished by > people using language, as idioms are, but by the few who had the > means to write: poets and scribes working for the ruling classes. In > this sense, it was a broadcast medium: it could not be interrogated, > only consumed. > > [2.4] Similarly, Plato is widely known for having banished the poets > from his ideal Republic as well as for having condemned writing. > Scholars cite passages from Plato's /Republic/ in the former case, > and the/ Phaedrus/ and the/ Seventh Letter/ in the latter. For > instance, in /Hamlet on the Holodeck,/ Janet Murray (1997) posits > Plato's attack on Homer as merely one instantiation of the perennial > fear of "every powerful new representational technology," noting > that "we hear versions of the same terror in the biblical injunction > against worshipping graven images; in the Homeric depiction of the > alluring Sirens' songs, drawing sailors to their death; and in > Plato's banishing of the poet from his republic" (18). Citing Parry > and Lord, she goes on to argue: "A stirring narrative in any medium > can be experienced as a virtual reality because our brains are > programmed to tune into stories with an intensity that can > obliterate the world around us. This siren power of narrative is > what made Plato distrust the poets as a threat to the Republic" > (98). For Murray, then, Plato was simply terrified by narrative and > its immersive quality. This allows her to champion cyberdrama as > merely an extension of older forms of literature and a universal > human need for stories. However, even as current readings of ancient > texts are destined to be somewhat anachronistic, certain facts are > difficult to dispute. One such fact is that far from being a new > form of representation, the oral structure of the Homeric epic was a > centuries-old form by the time of Plato. As Ong's work reveals, it > was actually the tropes of orality that, after the invention of the > alphabet, no longer functioned as noetic (that is, being of the > thought world, or of intelligence); instead, they called attention > to themselves as mediated and dogmatic. Indeed, once these epics > were written down, they essentially became obsolete. Their forms and > attendant iconography, so useful for oral delivery, seem rudimentary > and jingoistic when the repetition no longer served. > > [2.5] In this light, Plato's derision of Homer was actually a > denunciation of the outdated and counterproductive structures of > knowledge transmission characterized by oral epics because their > mythos blocked, rather than encouraged, the acquisition of real > knowledge. The grievance was not intrinsically about narrative but > rather an indictment of an inferior and ineffective example of the > exteriorization of knowledge in a form that is static. Indeed, for > Plato, wisdom came via a dialogic process, not from simply absorbing > a text whose veracity could not be subjected to interrogation. This > view is strengthened by looking at Plato's notorious attack on > writing, which needs qualification, particularly because it was done > /in/ writing—and, some would argue, often poetically at that. > > [2.6] Plato's 30-plus dialogues did not faithfully represent an > actual conversation but were instead used as epistemological and > pedagogical guides, using the voice of Plato's teacher, Socrates. > The/ Phaedrus,/ one of most prominent of the Socratic dialogues, is > presented as the script of a conversation between Socrates and his > frequent interlocutor, Phaedrus, while walking through the > countryside on the outskirts of Athens. It is clearly dramatized, > with characters named, although there is no narrator to intrude on > or mediate the conversation. Phaedrus has just attended a speech on > the nature of love, which sparks a conversation about knowledge, > learning, and wisdom. When the talk turns to writing, Socrates > notes, "I cannot help feeling, Phaedrus, that writing is > unfortunately like painting: for the creations of the painter have > the attitude of life, and yet if you ask them a question, they > preserve a solemn silence" (Jowatt 2006, 278-12). As we see from > this passage, the complaint is less about writing per se and more > about the incomplete nature of the representation, compounded by the > inability to speak back to a text, to be an interlocutor. One must > simply accept what the text says without the veracity achieved by > understanding the process by which it came to be, and without the > ability to gauge the credibility of the author. For Plato, this > process// was most important because real wisdom was deeper than its > exteriorization in speech, writing, or images. In other words, the > shortcomings of any form of representation can be mitigated by the > ability to question, interact, and evaluate utterances. If these > texts could be conversational, there is little reason to conclude > that Plato would not also view them as pedagogical. Indeed, Plato > himself wrote a great deal, and perhaps the naming of interlocutors > in his dialogues was an early form of citation. Further, the analogy > to painting is interesting, not least because visual texts have > remained nondialogic until recently. Today, however, the remixer > becomes an interlocutor in the digital conversation, one who can > question the formal boundaries of a print-literate culture and one > whose efforts often expose the process of creation. > > I hope to catch up on this very interesting thread once I get past some > insanity. > cheers, > Virginia Kuhn > > On Wed, Apr 24, 2019 at 9:37 AM Charles M. Ess <c.m.ess(a)media.uio.no > <mailto:c.m.ess@media.uio.no>> wrote: > > Dear AoIRists, > > Please be kind and patient with me, recalling that my formal academic > training was in history of philosophy, German literature, and ancient > Greek. I am comparatively still a little wet around the ears with > regard to media and communication studies - or so it seems in this > instance. > > I keep encountering discussions of moral / media panics that > consistently invoke Plato's _myth_ of the invention of writing. > > This seemingly standard invocation puzzles me greatly for a long > list of > reasons. I include a short list below for anyone with time and > interest > in looking them over. > > The upshot is that I'm left wondering: who - and when - introduced what > has apparently become received tradition in these domains that the > mythos (see "2" below) of the invention of writing in the Phaedrus is a > prime or supportive example moral or media panic? > > This is, as they say in administration-speak, an appreciative inquiry. > I'm genuinely curious for the sake of better understanding how this > trope first appeared, etc - as well as genuine worried that I may have > somehow missed something that is considered elementary and obvious for > those of you with academic training more directly within media and > communication studies. > > Many thanks in advance for any enlightenment and eludation! > best, > - charles ess > > PS: The short list includes: > 1) the account is taken (bloody and screaming) out of the context of > the > larger dialogue in the Phaedrus. When read within the larger context - > beginning with (the young) Phaedrus' effort to impress (perhaps seduce) > Socrates by memorizing a speech he has copied down on a scroll and > initially tries to hide from Socrates - the mythos works much more > immediately as a lightly veiled (and hence, pedagogically speaking, > likely more successful) chastisement of Phaedrus' efforts at > dissimulation. By no means a wholesale critique of writing per se. > 2) The account is explicitly delivered as a _mythos_ - too easily > translated as a "myth." But: a _mythos_ in Plato is a technical / > philosophical form, going well beyond and in some ways directly > contradicting more everyday notions of "myth" as a false story; a > mythos > is specifically an _oral_ story, with its own set of distinctive > strengths and limitations. It is often used in Plato when > interlocutors, > attempting to pursue a reasoned argument (logos), come to an impass. > The relation between mythos and logos is hence often complementary, not > contradictory. > 3) It would seem very odd for an author of multiple dialogues, of > sometimes staggering sophistication and literary nuance, to sincerely > believe that writing is somehow an entirely suspect technology. > Different from orality, certainly, as is suggested by the consistent > presentation of Socrates as an oral teacher, the careful use of mythos > vs. logos, etc. - but hardly an example of media / moral panic. > And so on. > Again: what am I missing? > > Again, many thanks, > - c. > -- > Professor in Media Studies > Department of Media and Communication > University of Oslo > <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.hf.uio.no_imk_engli…> > > Postboks 1093 > Blindern 0317 > Oslo, Norway > c.m.ess(a)media.uio.no <mailto:c.m.ess@media.uio.no> > _______________________________________________ > The Air-L(a)listserv.aoir.org <mailto:Air-L@listserv.aoir.org> mailing > list > is provided by the Association of Internet Researchers > https://urldefense.proofpoint.com/v2/url?u=http-3A__aoir.org&d=DwICAg&c=clK… > Subscribe, change options or unsubscribe at: > https://urldefense.proofpoint.com/v2/url?u=http-3A__listserv.aoir.org_listi… > > Join the Association of Internet Researchers: > https://urldefense.proofpoint.com/v2/url?u=http-3A__www.aoir.org_&d=DwICAg&… > > > > -- > Virginia Kuhn, PhD > Professor of Cinema > Media Arts + Practice Division > School of Cinematic Arts > University of Southern California > http://virginiakuhn.net/ > Twitter: @vkuhn -- Professor in Media Studies Department of Media and Communication University of Oslo <http://www.hf.uio.no/imk/english/people/aca/charlees/index.html> Postboks 1093 Blindern 0317 Oslo, Norway c.m.ess(a)media.uio.no

1 0