Content uploaded by Pip Shea
Author content
All content in this area was uploaded by Pip Shea on Feb 25, 2015
Content may be subject to copyright.
A preview of the PDF is not available
Northern Ireland's Creative Meshworks: Tracing Ad Hoc Knowledge Exchange
Abstract
This paper draws on Ingold's [1] idea of " meshworks " to reveal the entanglements that shape the exchange of knowledge between arts and humanities researchers and the creative sector in Northern Ireland. It offers a view of the " interwoven lines of growth and movement " that affect the passing of ideas between practitioners and academics arguing that collaborations are ad hoc and encourage new forms of creativity and problem-solving. We do not offer a visualisation of the places and ways in which Northern Ireland's creative sector connects and collaborates. Rather, we identify the human and non-human assemblies that generate, facilitate, and give boundaries to knowledge exchange processes, and analyse these dynamics in the context of wireless cultures.
ResearchGate has not been able to resolve any citations for this publication.
• This article maps the emerging practices in media professions like journalism, advertising, marketing communications and public relations in adapting to a new global environment, characterized by an increasingly participatory media culture. Among creatives and brand managers in ad agencies `interactive advertising' is at the center of the contemporary buzz. Marketers in the cultural industries brainstorm about the potential of upstream marketing, while in public relations the opportunities of two-way symmetrical communication are explored. Editors of news publications increasingly jump on the `citizen journalism' bandwagon. All these trends are part of the same phenomenon: a convergence of the cultures of media production and consumption. In this essay, these developments are discussed in terms of their potential impact on consensual assumptions about the nature of media work, seen through the lens of the combination of individual creativity and mass production, also known as creative industries. •
Who are computer hackers? What is free software? And what does the emergence of a community dedicated to the production of free and open source software--and to hacking as a technical, aesthetic, and moral project--reveal about the values of contemporary liberalism? Exploring the rise and political significance of the free and open source software (F/OSS) movement in the United States and Europe, Coding Freedom details the ethics behind hackers' devotion to F/OSS, the social codes that guide its production, and the political struggles through which hackers question the scope and direction of copyright and patent law. In telling the story of the F/OSS movement, the book unfolds a broader narrative involving computing, the politics of access, and intellectual property. E. Gabriella Coleman tracks the ways in which hackers collaborate and examines passionate manifestos, hacker humor, free software project governance, and festive hacker conferences. Looking at the ways that hackers sustain their productive freedom, Coleman shows that these activists, driven by a commitment to their work, reformulate key ideals including free speech, transparency, and meritocracy, and refuse restrictive intellectual protections. Coleman demonstrates how hacking, so often marginalized or misunderstood, sheds light on the continuing relevance of liberalism in online collaboration. Free and open-source software (F/OSS) refers to nonproprietary but li-.
This Essay offers a framework to explain large-scale effective practices of sharing private, excludable goods. It starts with case studies of carpooling and distributed computing as motivating problems. It then suggests a definition for shareable goods as goods that are "lumpy" and "mid-grained" in size, and explains why goods with these characteristics will have systematic overcapacity relative to the requirements of their owners. The Essay next uses comparative transaction costs analysis, focused on information characteristics in particular, combined with an analysis of diversity of motivations, to suggest when social sharing will be better that secondary markets at reallocating this overcapacity to nonowners who require the functionality. The Essay concludes with broader observations about the attractiveness of sharing as a modality of economic production as compared to markets and to hierarchies such as firms and government. These observations include a particular emphasis on sharing practices among individuals who are strangers or weakly related; sharing's relationship to technological change; and some implications for contemporary policy choices regarding wireless regulation, intellectual property, and communications network design.
Online groups are taking new forms as participants spread themselves amongst multiple Internet and offline platforms. The multinational online community of Swedish independent music fans exemplifies this trend. This participant-observation analysis of this fandom shows how sites are interlinked at multiple levels, and identifies several implications for theorists, researchers, developers, industry and independent professionals, and participants.