Tag Archives: digital culture

CFP: International Free Software Workshop 2013 (Porto Alegre, Brazil)

Deadline for Proposals: 20 February 2013

Website: softwarelivre.org/wsl

From the pioneer software sharing communities created around UNIX to the community of Emacs hackers and beyond, Free and Open Source Software (FOSS) development has been growing exponentially, following the popularization and widespread usage of personal computers and the Internet. Not only have FOSS communities expanded globally, but also its body of literature, becoming relevant for computer scientists and engineers, as well as for researchers in the humanities and social sciences. In the past decade, FOSS research was consolidated around questions such as individual motivation, collaborative practices, issues of scale, governance, and coordination of development efforts, as well as problems of political economy, involving the study of economic models, and forms of political mobilization around Free Software.

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CFP: Internet Memes and Visual Culture, Journal of Visual Culture

A themed Special Issue of Journal of Visual Culture

Issue Guest Editors: Laine Nooney (Stony Brook University) and Laura Portwood-Stacer (New York University)

Deadline for Proposals: 15 January 2013

The Editors are currently seeking proposed contributions for a Special Issue of the *Journal of Visual Culture* on Internet Memes and Visual Culture, to be published December 2014. The term *meme*, a portmanteau of * mimesis* and *gene*, was minted in 1976 by British ethologist and evolutionary biologist Richard Dawkins. Dawkins proposed the meme as a “unit of cultural transmission,” a self-perpetuating cultural phenomenon analogous to the gene as a replicator of biological data. Almost 40 years later, the term “meme” has become the coin of the realm within Internet subcultures, particularly on microblogging and social network platforms. In these contexts the designation “meme” identifies digital objects that riff on a given visual, textual or auditory form. For a digital object to become a meme, it must be appropriated, re-coded, and slotted back into the Internet infrastructures it came from—memes require continued user adaptation. Thus, memes are co-constitutive with the user practices of creative (re)production that are default modes of communicative interaction on major social media platforms such as Facebook, Tumblr, Reddit, Twitter, Pinterest, and YouTube. Memes are frequent objects of analysis among scholars of contemporary digital culture, socio-linguistics, fan culture, and social networking, wherein they are assessed as forms of generative vernacular communication and art-making that defy traditional models of top-down capitalist consumer control of mass media forms. Yet the speed, volume and insularity of meme-making often frustrates aesthetic, formal and techno-infrastructural scholarship on memes and meme distribution.

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