User:Angeliki/Interfacing the Law/ research

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Provisional research

Topics

  • paratext
  • hypertext and feminism
  • embodiment and hypertext
  • personal collections/ individual sequences/ individual identities/ Tash's anonymity? "as if he was surfing from Jessica's room"
    the place of each user/the fake IP address/ tunnels/ topography
  • “traces” in pirate libraries
  • collective reading- and public space/ links of Alex?
  • intellect augmentation
  • back doors, black holes in pirate libraries and hypertext
  • HTML-> browser-> hypertext-> pirate "book"-> pirate library/ markdown and file sharing https://beakerbrowser.com/
  • hide and seek (in the names, in the network, in the hyper-parallel documents (documents could copy themselves or have an alter fake ego)
    https://en.wikipedia.org/wiki/Tor_%28anonymity_network%29
    pirate book: "These tactics include torrent poisoning which

consists in sharing data that has been corrupted or files with misleading names on purpose."(n: misleading concepts/names around the book. Referring to the same book, but with individual series of thoughts/ you reach the downloaded pdf through these paths/ the one user gives an element to the other-tor)

  • SOCIAL ENGINEERING One of the most creative methods used is the “fake magazine” scam (pirate book)
    coded names/encrypted derived from annotations-> individual perspective/area of discussion.
  • hypertext-collective writing-collective copying-collective piracy
  • hypertext-hypermedia
  • file sharing, P2P, https://rsync.samba.org/
  • (parallel) poetic references (pirate book)
  • collective narrative
    http://thepiratecinema.com/ (A CINEMATIC COLLAGE GENERATED BY PEER-TO-PEER NETWORK ACTIVITY)
  • pirated recordings, videos, texts
  • tunnel like tor network
  • nonlinear writing
  • deaddrops https://deaddrops.com/


Keywords: piracy, hacking, media activism, media piracy, file-sharing, 'privateer' tactics, plagiarism

Abstracts

Women Writers and the Restive Text: Feminism, Experimental Writing and Hypertext by Barbara Page

In this text Page refers to the strong connection of hypertext and feminism, focusing on the unconventional writing of several female authors. The hypertextual way of writing provides a freedom and space for collaborative compositions and alternative interpretations of the text. This practice radicalise the narrow and patriarchal form of writing by being 'nonlinear, nonhierarchical, and decentering', and even fragmented. She gives an additional meaning to the term by referring to electronic writing, which is inclusive and 'interweaves' the media between them.

You say you want a revolution? Hypertext and the Laws of Media by Stuart Moulthrop

hypertext in computing systems. users access, involvement in the process he refers to the project XANADU: linking and retrieval system hypertext- social change/ he talks about the political aspect of such a system the personal computers arrived and this idea was almost lost (....)

Nonlinear Writing by Astrid Ensslin

Ensslin defines nonlinear narrative as a composition of written texts, whose macrostructure follows an associative logic between documents. Together with it comes the multilinear reading. This way of approaching texts (intertextuality) traces back in the history, when the proto-hypertexts appeared as annotations in sacred books, till today with the interactive fiction. HTML structure gave the best conditions for digital non-linear narrative, known as electronic writing. As Derrida mentions the linear way cannot express the modern human experience as nonlinear can. The consequences of this approach are that the reader is acquired to reread multiple texts/documents to form an idea of the fiction and an arena of discussion is created about them. In a way that readers of the same text may disagree, misunderstand the texts, and as a result many potentials open for a critical debate and academic discourse.

Collaborative Narrative by Scott Rettberg

In this text Rettberg refers to the forms that a collaborative narrative can take, focusing on the participation of the authors. The file-sharing applications are the base of this simultaneous electronic way of writing, like Skype and email. He separates the participation into three types; conscious, contributory and unwitting. He elaborates more on this argument by giving examples of hypertext projects. In the context of social writing in a network based environment, hypertexts can have different structures beyond the conventional linear narratives. Then the contribution of more than two authors is unavoidable leading to a larger scale of collective writing, like the attempt of making a novel in the Wiki platform. Rettberg describes that by bringing the term 'architecture of participation'. And so the performative action of making a collective novel online becomes more important than the content of the document.

Feminist Adventures in Hypertext by Rosemary A. Joyce Ruth and Ruth E. Tringham

Towards a Loosening of Categories: Multi-Mimesis, Feminism, and Hypertext by Jessica M. Laccetti

Lacceti starts her text by introducing the revision of feminist subjectivity aiming to the change and the clearness of the term. Postfeminism, as it was recalled, is strongly bounded with the language and its appropriation. Mimesis was always a powerful tactic for female feminists to redefine their subjectivity. That is, to repeat but by including the difference. It seems like the media realm has already moved from being a representation tool to a reality itself. Within this field and the emergence of internet women gained the possibility to enter the public sphere and express their complexity. They are able to keep a multidimensional subject, which is fluid, fragmented and differs from the unified masculine reality. The author then introduces the term multi-mimesis in internet which is expressed by the act of writing, creating hyperfictions and presenting the identity and gender as fiction. She concludes that the story of the hypernarrative exists through the absence of the person, who has a non-complete and non-realised identity.

Physical Media in Protocol: How Control Exists after Decentralization by Alexander R. Galloway

Bibliography

References

  • Furter, L., 2015. Online Reading Group [WWW Document]. http://url.net/. URL http://lorainefurter.net/shared-library/ (accessed 2.11.18).
  • Galloway, A.R., 2004. Physical Media, in: Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass., pp. 28-53.
  • Krikorian, G., Kapczynski, A. (Eds.), 2010. Beyond Representation: The figure of the pirate, in: Access to Knowledge in the Age of Intellectual Property. Zone Books, New York.
  • Orwant, J., 2003. Games, Diversions & Perl Culture: Best of the Perl Journal, 1 edition. ed. O’Reilly Media.
  • Page, B., 1996. Women Writers and the Restive Text: Feminism, Experimental Writing and Hypertext. Postmodern Culture 6. https://doi.org/10.1353/pmc.1996.0002
  • sullivan.pdf, n.d.
  • Talks/Poetics of Research - Monoskop [WWW Document], n.d. URL https://monoskop.org/Talks/Poetics_of_Research (accessed 4.17.18).
  • Towards a Loosening of Categories: Multi-Mimesis, Feminism, and Hypertext | Electronic Book Review [WWW Document], n.d. URL http://www.electronicbookreview.com/thread/writingpostfeminism/appropriated (accessed 4.25.18).
  • Wardrip-fruin, N., 2003e. You say you want a revolution? Hypertext and the Laws of Media, in: The New Media Reader. MIT Press, Cambridge, Mass, pp. 692–704.
  • Astrid Ensslin, 2014. Nonlinear Writing, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 360–362.
  • Scott Rettberg, 2014. Collaborative Narrative, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 78–80
  • Nicolas Maigret, Maria Roszkowska (Eds.), n.d. The Pirate Book. Aksioma, Ljubljana.
  • Joyce, R., A., Tringham, R., E., 2007. Feminist Adventures in Hypertext. Journal of Archaeological Method and Theory, 7.
  • info@pagesmagazine.net, P.M., n.d. Notes about Spamsoc [WWW Document]. URL https://www.pagesmagazine.net/en/articles/notes-about-spamsoc/58cbdeb7bf07dc00b19b0b93 (accessed 5.6.18).
  • Digital publishing in developing countries, n.d.
  • Fuller, M., Goffey, A., 2012. Togetherness, in: Evil Media. The MIT Press, Cambridge, Mass, pp. 47–68.
  • Genette, G., 2010. Paratexts: Thresholds of Interpretation. Cambridge University Press, Cambridge ; New York, NY, USA.
  • How Mierle Laderman Ukeles Turned Maintenance Work into Art [WWW Document], 2017. . Hyperallergic. URL https://hyperallergic.com/355255/how-mierle-laderman-ukeles-turned-maintenance-work-into-art/ (accessed 5.15.18).
  • Hu, T., 2015. A Prehistory of the Cloud. MIT Press, Cambridge, Massachusetts.
  • STAR, S.L., 1999. The Ethnography of Infrastructure. American Behavioral Scientist 43, 377–391. https://doi.org/10.1177/00027649921955326
  • Georges Canguilhem, 1992. Machine and Organism, in: Crary, J., Kwinter, S. (Eds.), Incorporations. Zone Books, New York, NY, pp. 44–69
  • Pirate Libraries and the Future of Access [WWW Document], n.d. . Elektor. URL https://www.elektormagazine.com/articles/pirate-libraries-and-the-future-of-access (accessed 5.19.18).
  • Shukaitis, Stevphen (2013). The Undercommons, Fugitive planning and black study: Stefano Harvey and Fred Moten. Minor Compositions, New York


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