Minerva Martins

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“Nevertheless, for the most part the intangible dangers of being observed by unintended audiences are considered secondary to the convenience of instantaneous access to this “virtual campfire” from the comfort of the home. While online social networking sites are often disparaged as poor replacements for human interaction that encourage superficial relationships, my ethnographic analysis reveals how some people, American youth in particular, are incorporating this medium into their everyday practices in more or less meaningful ways. Through elucidating both the dangers and possibilities of this medium, I seek to encourage people to create their own “virtual campfires” as a supplement to, rather than a replacement of, their offline lives. Through participation and sharing in meaningful ways- from conversation to creating art- we might begin to see these sites as vehicles for healing the widely-felt loss of community and the pervasive sense of alienation experienced by so many.”
Jennifer Anne Ryan, The Virtual Campfire: An Ethnography of Online Social Networking

Bruno Latour
“Using a slogan from ANT, you have 'to follow the actors themselves', that is try to catch up with their often wild innovations in order to learn from them what the collective existence has become in their hands, which methods they have elaborated to make it fit together, which accounts best define the new associations that they have been forced to established.”
Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory

Pierre Bourdieu
“Verbal virtuosities or the gratuitous expense of time or money that is presupposed by material or symbolic appropriation of works of art, or even, at the second power, the self-imposed constraints and restrictions which make up the "asceticism of the privileged" (as Marx said of Seneca) and the refusal of the facile which is the basis of all "pure" aesthetics, are so many repetition of that variant of the master-slave dialectic through which the possessors affirm their possession of their possessions. In so doing, they distance themselves still further from the dispossessed, who, not content with being slaves to necessity in all its forms, are suspected of being possessed by the desire for possession, and so potentially possessed by the possessions they do not, or do not yet, possess.”
Pierre Bourdieu, Distinction

Pierre Bourdieu
“A number of ethical, aesthetic, psychiatric or forensic classfications that are produced by the "institutional sciences",not to mention those produced and inculcated by the educational system, are similarly subordinated to social functions, although they derive their specific efficacy from their apparent neutrality. They are produced in accordance with the specific logic, and in the specific language, of relatively autonomous fields, and they combine a real dependence on the classificatory schemes of the dominant habitus (and ultimately on the social structures of which these are the product) with an apparent independence.”
Pierre Bourdieu, Distinction

“You know, the sound of a 45 rpm record being played at 33 rpm. But as soon as I remembered that this is a CD and not vinyl, I could only marvel at the fact that these guys are so gol-darned HEAVY [author’s emphasis].”25 In an interview with the now-defunct influential extreme hardcore band Lärm, a band member recalls an incident in which the band’s definition of music collided with a sound engineer’s more mainstream ditto: “The sound check of our first concert ever was funny, the PA guy kept asking us when we were actually going to play a song…we already played three, we said.He shut down the PA and left…”
Christopher J. Washburne, Bad Music: The Music We Love to Hate

year in books
Daniel ...
588 books | 485 friends

ana rita
760 books | 88 friends

Vanessa
4,950 books | 168 friends

Lia
Lia
547 books | 179 friends

Kitty
719 books | 18 friends

Marta
107 books | 27 friends

Andre
278 books | 73 friends

Inês
413 books | 167 friends

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