"The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists -- fans, pirates, hackers -- have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, "remix culture" and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives.";Memory machine myth: the memex, media archaeology, and repertoires of archiving -- Archival styles: universal, community, and alternative digital preservation projects -- Queer and feminist archival cultures : the politics of preserving fan works -- Repertoire fills the archive : race, sexuality, and social justice in fandom -- Print fans versus net fans : women's cultural memory at the threshold of new media -- The default body and the composed body : performance through new media -- Archontic production : free culture and free software as versioning -- Conclusion: fan data: a digital humanities approach to internet archives.

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Archiving fandom : digital cultural memory and media users

Abigail De Kosnik; M.I.T. Press

Kosnik, Abigail De

AAAI Press

Cambridge Massachusetts [Piscataqay New Jersey, 2016

Cambridge, Mass, London, United States, 2016

United States, United States of America

Cambridge, MA, Unknown, 2016

First Edition, PT, 2016

1, 2016

lg2610672

producers:
Adobe PDF Library 9.0

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Memory of the World Librarian: Slowrotation

Includes bibliographical references and index.

Указ.: с. 409-430
Библиогр.: с. 367-407

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Contents 9
Acknowledgments 11
Introduction 13
Memory Escapes the State 13
Memory and Making 15
Memory as the “Cultural Dominant” 17
The Rise of Repertoire 18
Archive and Repertoire 20
The Promise of Democratization 21
The Case of Fan Fiction Archives 23
Gender, Sexuality, and Digital Archiving 24
Objects and Methods 30
Chapters and Breaks 32
Break 0 A Glossary of Key Terms 37
What Is Digital Cultural Memory? 37
What Is “Global Theater”? (or, What Does New Media Studies Have to Do with Performance Studies?) 42
What Is Archontic Production? 46
What Is Fan Fiction? 47
What Are Fan Fiction Archives? 50
1 Memory Machine Myth: The Memex, Media Archaeology, and Repertoires of Archiving 53
The Internet Is Not a Memory Machine 53
Origins of the Memory Machine Myth 54
The Memory Machine Myth after Bush 56
Warnings of the Digital Dark Age 58
The Wayback Machine: The Real Memex? 60
Techno-Volunteerism 63
Repertoires of Digital Archiving 65
Repertoires and Scripts in New Media Studies 68
Affordances Need Performances 71
Break 1 Canon and Repertoire 75
The Breakdown and Multiplication of “Canon” 75
Canon/Repertoire and Archive 77
Digital Doing 79
Repertoires of Archiving 83
2 Archival Styles: Universal, Community, and Alternative Digital Preservation Projects 85
The Proliferation Tradition 85
Traits of Rogue Digital Archives 88
Universal Digital Archives 89
Community Digital Archives 96
Alternative Digital Archives 99
Fan Fiction Archives 102
Fan Fiction Archives as Universal Archives 103
Fan Fiction Archives as Community Archives 107
Fan Fiction Archives as Alternative Archives 112
The Repertoire of Archive Use 117
Break 2 Archive Elves 135
3 Queer and Feminist Archival Cultures: The Politics of Preserving Fan Works 143
Women Fans against Male-Dominated Tech 143
Archives as Counterinstitutions 146
The Moment of Discovery 147
The Emotional Power of Archives 150
Gender and Sexuality in Fandom 154
The Work of Queer Archives 163
Necessary Archives 165
Break 3 Fan Time versus Media Time 167
Time and Performance in the Global Theater 167
Wishing for Alternative Temporalities 169
Time Feminized and Queered 170
4 Repertoire Fills the Archive: Race, Sexuality, and Social Justice in Fandom 173
Wanted: Content 173
Archive Events 174
Battles, Bingos, and Bangs 177
dark_agenda Challenges 178
A Darker Archive 179
The Vernacular Creativity of Archivists 183
“‘Carnival’ Is an IP Address” 184
Fictions for Real Change 189
Change Within 191
“RaceFail ’09” and Social Justice Fandom 194
Break 4 “Works” or “Performances”? 199
What Counts as a “Work”? 199
From Usenet to Databases to Social Media 199
“Digital Performances” and “Stone Soup” 200
5 Print Fans versus Net Fans: Women’s Cultural Memory at the Threshold of New Media 205
Women’s Anxiety about Digital Archives 205
“Half-digital, half-not” 207
Bionic Women or the Borg? 209
The Failings of Net Fandom 212
Missing Female Bodies 214
The Cultural Imaginary of Cyberdystopianism 218
The Female Body Always Remains 222
Fan Cultural Memory as Repertoire 224
The Body + the Book 226
Uncertain Surrogacy 228
The Other Cyborg 230
Break 5 A Femslash Parable of the Print-to-Digital Transition 233
Femslash as Reconciliation Fic 233
Cyborg–Human Connection 234
Cyborg versus Human Cultural Memory 237
6 The Default Body and the Composed Body: Performance through New Media 239
The Body in New Media 239
A Mystery of Paratext 239
The Body in X-Reality 246
Marionette versus Avatar 252
The Workings of Digital Marionettes 255
Archival Bodies 258
Global Media, Local Uses 260
The Event-ness of Fan Fiction 262
Fans Thinking and Making Events 267
My Gutenberg Mistake 271
Break 6 Body and Voice in Fan Production 275
Real-World Performances 275
Audiofic Performances 277
Fan Casting 279
Performances without Moving Pictures 282
7 Archontic Production: Free Culture and Free Software as Versioning 285
New Media and the Archival Turn 285
Archontic Production 289
Free Culture 292
Intertextuality and Feedback in Free Software and Free Culture 300
Archontic Production and New Media Literacies 303
Archontic Production and Minoritarian Cultures 305
Political Potentialities 308
Consumer Memory versus User Memory 310
Repertoire in Archontic Production 312
The Bloom from the Kernel, or The Dynarchive 317
Break 7 Licensing and Licentiousness 319
Conclusion Fan Data: A Digital Humanities Approach to Internet Archives 327
Visualizing Vastness 327
The Dream of Measuring Fandom 328
The Fan Data Project 329
The X-Files: ATXC and Gossamer 330
Harry Potter: LiveJournal and Fanfiction.net 337
Fanfiction.net and Archive of Our Own: Master Scrapes 345
Appendix: Oral History Project, Demographics, and Ethical Considerations 361
Fan Fiction and Internet Memory 361
Demographics 361
Ethical Considerations 363
Notes 367
Introduction 367
Break 0: A Glossary of Key Terms 368
1 Memory Machine Myth: The Memex, Media Archaeology, and Repertoires of Archiving 370
Break 1: Canon and Repertoire 370
2 Archival Styles: Universal, Community, and Alternative Digital Preservation Projects 371
3 Queer and Feminist Archival Cultures: The Politics of Preserving Fan Works 371
Break 3: Fan Time versus Media Time 372
4 Repertoire Fills the Archive: Race, Sexuality, and Social Justice in Fandom 372
Break 4: “Works” or “Performances”? 373
5 Print Fans versus Net Fans: Women’s Cultural Memory at the Threshold of New Media 374
Break 5: A Femslash Parable of the Print-to-Digital Transition 375
6 The Default Body and the Composed Body: Performance through New Media 375
7 Archontic Production: Free Culture and Free Software as Versioning 376
Conclusion: Fan Data: A Digital Humanities Approach to Internet Archives 377
Appendix: Oral History Project, Demographics, and Ethical Considerations 377
References 379
Media Texts 413
FanFic Sites, LiveJournals, Websites, and WebBlogs 417
Index 421

An examination of how nonprofessional archivists, especially media fans, practice cultural preservation on the Internet and how "digital cultural memory" differs radically from print-era archiving. The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists--fans, pirates, hackers--have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, "remix culture" and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives.--Provided by publisher

« The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists -- fans, pirates, hackers -- have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives.De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, "remix culture" and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives. »-- Résumé de l'éditeur

2020-07-26