DOCSLIB.ORG

Net. Aesthetics, Net. History, Net. Criticism: Introducing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Net. Aesthetics, Net. History, Net. Criticism: Introducing NET.AESTHETICS, NET.HISTORY, NET.CRITICISM: INTRODUCING NET.ART INTO A COMPUTER ART AND GRAPHICS CURRICULUM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alison R. Colman, B.F.A., M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Professor Vesta A. H. Daniel, Adviser Approved by: Professor Georgianna Short Professor Wayne Carlson ______________________________ Adviser Professor Brian Rotman Department of Art Education ABSTRACT Net.art is an art form that uses the Internet as a medium, and has been created specifically for viewing on the World Wide Web. For the art instructor whose curriculum includes art criticism, art history and aesthetics with studio activities, including net.art in such a way that encourages critical thinking and new perspectives on art as well as the Internet is a daunting challenge. The art instructor needs the computer skills necessary to assist students in creating net.art, as well as an understanding of the cultural, technological and theoretical underpinnings of net.art in order to demystify it for students. Net.art tends to be highly conceptual, strongly challenges commonly held notions regarding art, and often requires the viewer to have some knowledge of the history of the Internet. It also requires the viewer to understand the Internet as a cultural phenomenon rather than a technological tool. My primary empirical objective was to formulate effective pedagogical strategies for the high school art instructor incorporating net.art into their curriculum in such a way that would facilitate students’ critical thinking, meaning making, and deeper understanding of the cultural aspects of the Internet. The principal research question is: how can net.art be integrated into a high-school level computer art and graphics curriculum? ii Over the course of the study, the principal investigator engaged in reflective practices that enabled her to devise pedagogical strategies that, in turn, facilitated a demystification process that enabled the students to overcome their initial disorientation and became increasingly able to appreciate and understand net.art. Despite the students’ familiarity with the Internet and traditional art forms, however, they were not able to translate their knowledge gained from these experiences into an adequate vocabulary in which to describe and interpret net.art as an artistic form. When asked to compare the web sites they are more accustomed to with net.art, these students defined a typical web site in terms of its functionality, how its form is dependent on its functionality, and its content; in direct contrast to a “typical” web site, most of the students described net.art’s form and function as something quite opposite. iii Dedicated to Jaron Bernstein, my wonderful spouse iv ACKNOWLEDGMENTS I wish to thank my adviser, Dr. Vesta A. H. Daniel, for the support, patience, encouragement and opportunities she has given me throughout my graduate career. I also am grateful for the calm support she has lent me during my first year as an assistant professor while I was working on my dissertation. I also wish to thank Dr. Sam Short for the cheerful guidance and support she provided me while I took a sabbatical from my dissertation to pursue a teaching certificate. Dr. Short, I am truly appreciative and grateful for your being there for me when I needed you! You taught me much about being an art educator. I thank Dr. Wayne Carlson and Dr. Brian Rotman for their intellectual support, as well as their stimulating classroom discussions. I also thank Dr. Anne Burkhart and Ron Aman, my Art Education colleagues at Ohio University, for their encouragement, advice, moral support and collegiality. To Dainta Teeple, someone I am proud to consider a fellow art educator: I am extremely thankful for your friendship and support. You are someone I can always count on, especially when I need a “You go girl!!!!!” Many, many thanks to my parents Barri and Warren Colman, my grandmother Ada Golbus, and my great-aunt Esther Fox, for your love, enthusiastic encouragement and, well, everything else. What more can I say? v And finally, my most wholehearted thanks goes to Jaron Bernstein, the most loving, patient and supportive life partner I could ever ask for. Thank you, thank you, thank you. Despite what you may think, I couldn’t have done this without you. vi VITA December 22, 1969 …………………………… Born - Skokie, Illinois 1991 ……………………………………………B.F.A. Fine Arts, Carnegie Mellon. 1997 ……………………………………………M.A. Art Education, The Ohio State University. 1995 – 2001 ……………………………………Graduate Teaching Associate, The Ohio State University 2002 – present ………………………………….Assistant Professor School of Art, Ohio University PUBLICATIONS Colman, A. (2000). African culture transformed twice: The Kwanzaa Playground and the Kwanzaa Playground website. Art Education, 53(2), 12-17. FIELDS OF STUDY Major field: Art Education Secondary fields: New Media Studies, Digital Visual Culture Studies, Cyberculture Studies, Curriculum and Instruction, New Media Archaeology vii TABLE OF CONTENTS Page Abstract ..............................................................................................................................ii Dedication ……………………………………………………………………………… iv Acknowledgments ……………………………………………………………………… v Vita ……………………………………………………………………………………. vii Chapters: 1. Introduction ………………………………………………………………………….. 1 1.1 Need for the study …………………………………………………………….. 1 1.2 Statement of problem …………………………………………………………. 4 1.3 Overview: Related literature on computer technologies in art education ….…..7 1.4 Significance of the study …………………………………………………….. 11 1.5 Chapters summary …………………………………………………………....12 2. Definitions, critical perspectives and a survey: What is net.art? …………………...16 2.1 Defining net.art ……………………………………………………………… 18 2.1.1 Defining net.art: Nettime.org ………………………………………...20 2.2 Discussions about net.art ……………………………………………………. 26 2.3 A decade of net.art: A survey from 1993 to 2003 ……………………………32 2.3.1 Early net.art: 1993 – 1994 …………………………………………...34 2.3.2 Art as communication and communication as art: The proliferation of net.art from 1995 to 1997 ………………………………………....42 2.3.3 From web pages to networked applications: Net.art from 1998 to 2000 …………………………………………………………………..55 2.3.4 Current directions: Net.art from 2001 to the present ………………....65 2.3.5 Epilogue ……………………………………………………………....76 viii 3. Visions of technology …………………………………………………………….…78 3.1 Theoretical positions on technology ……………………………………….... 82 3.1.1 Technological optimists ……………………………………………..83 3.1.2 Technological pessimists …………………………………………....88 3.1.3 Technological optimism and the Internet …………………………...92 3.1.4 Technological pessimism and the Internet …………………………..96 3.1.5 Contextualism and a critical theory of technology ……………….....98 3.2 Walter Benjamin ……………………………………………………………..103 3.3 Art, technology and social practices ………………………………………....109 3.3.1 King’s Cross Phone-In ……………………………………………..110 3.3.2 Toywar ……………………………………………………………..112 3.3.3 Teleporting an Unknown State …………………………………….115 4. Methodology …………………………………………………………………….....118 4.1 Defining Qualitative Research …………………………………………….. 120 4.2 The Constructivist Paradigm ………………………………………………..123 4.3 Issues of Validity …………………………………………………………...127 4.3.1 Triangulation ………………………………………………………131 4.3.2 Construct validity ………………………………………………….131 4.3.3 Face validity ……………………………………………………….132 4.3.4 Catalytic validity ……………………..……………………………132 4.4 Research Design ……………………………………………………………135 4.4.1 Definition of a Case Study ………………………………………...135 4.4.2 Types of Case Studies ……………………………………………..137 4.5 Framework of the Study ……………………………………………………139 4.5.1 Participatory Action Research (PAR)……………………………...140 4.5.2 Action research ……………………………………………………143 4.5.3 A Brief History of Action Research in Education ………………...144 4.5.4 Teacher-as-researcher ……………………………………………..147 4.6 Research location …………………………………………………………..150 4.7 Research participants ………………………………………………………151 4.8 Timeline of study ………………………………………………………......153 4.9 Methods of data collection …………………………………………………155 4.9.1 Observation ………………………………………………………...155 4.9.2 Interviews …………………………………………………………..156 4.9.3 Personal experience methods ………………………………………158 4.10 Data analysis ……………………………………………………………….160 4.10.1 Specific analysis structures ………………………………………...163 4.10.2 Specific assessment structures ……………………………………..164 4.11 Limitations of the study ……………………………………………………168 ix 5. Methodology redux: Telling the tale ……………………………………………...170 5.1 How I met my participating art educator ……………………………………171 5.2 Research direction …………………………………………………………..173 5.3 Gaining entry ………………………………………………………………..175 5.4 Teaching philosophy ………………………………………………………..178 5.5 Week one ……………………………………………………………………180 5.6 Week two …………………………………………………………………....189 5.7 Week three ………………………………………………………………......204 5.8 Week four …………………………………………………………………...216 5.9 Epilogue ……………………………………………………………………..219 6. Findings …………………………………………………………………………..221 6.1 Demystifying net.art ………………………………………………………...223 6.2 But is it art? …………………………………………………………………242 6.2.1 Comparison between net.art and other art forms …………………..252 6.3 The form and function of web sites and net.art ……………………………..255 6.4 The final project – applying their knowledge ………………………………261 7. Conclusions and implications …………………………………………………….269 7.1 The art educator’s knowledge base ...............................................................271
Load more

Recommended publications
  • Planning Curriculum in Art and Design
    Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning.
    [Show full text]
  • The Archival Media Art Experience
    The Archival Media Art Experience Master Thesis Handed in to School of Music, Music Therapy, Psychology, Communication, Art & Technology (MPACT) Aalborg University Head of Department Tom Nyvang, Ph.D and the Media Arts Cultures Consortium Course Media Arts Cultures 1st Supervisor Morten Søndergaard, Ph.d. By: Emőke Majohunbo Bada inscription number: 01564275 January 2018 Abstract Topic: The Archival Media Art Experience Author: Emőke Majohunbo Bada Supervisor: Morten Søndergaard, Ph.d. Course/Year: Media Arts Cultures, 2015-2017 4th Semester Placement: Aalborg University Pages: 91 Content: The most immediate way of experiencing an art piece is personal contact with the artefact itself, however often due to the physical limitations of both art object and art consumer, the viewer’s opportunity of encountering an given work in real life and real time is not always feasible. Archives, through media technologies, allow people to experience artworks from a distance. As a result the experience the artwork supplies may change. What factors determine this change, are they apparent to viewers of archives? Before investigating archival art experiences, the following main terms: experience, engagement, media art, technology, internet and archive need to be explored thoroughly. The following authors such as Dewey, Fenner, Ricardo, Zielinksi, Idhe, Hine, Hogan and Manoff are but a few of those whom the thesis bases its theory upon. As all experiences are highly personal phenomena, therefore interviewing people about their experiences was chosen as method for gathering such information. To guide the participants in the research, five different media artworks were chosen carefully as case studies to observe the particulars of the archival experience.
    [Show full text]
  • EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
    EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art
    [Show full text]
  • Web Page Design with Netscape 7.1 Walter Gajewski, Academic Computing Services Francine Vasilomanolakis, CSULB Dept
    Web Page Design with Netscape 7.1 Walter Gajewski, Academic Computing Services Francine Vasilomanolakis, CSULB Dept. of Education STEP 1: Downloading Netscape 7.1 It is possible to lay out and publish a web page with Netscape Composer, a software application included with the Netscape (version 7.0) Web Browser (free from Netscape). To install Netscape (version 7.1) on your own computer go out to the Netscape web site http://www.netscape.com and click on “Netscape 7.1” located under “Tools” and often under “Dowloads of the Day”. From the “downloads” page you can either install Netscape directly to your personal computer or have them mail you their free CD-ROM. Once Netscape is installed on your computer, you’re ready to create your first web page. STEP 2: Getting a CSULB internet (email) account Before you start authoring your on-line masterpiece you will have to apply for a campus web account. CSULB students can create an email account by going to http://www.csulb.edu/namemaster/ You will now have a user name and password. STEP 3: Creating or Editing a Web Page Note: The index.html file is the Home Page in your web site. When others visit your web site, they will automatically be directed to your index.html file. If this file is missing, all the contents of your directory will be displayed as a list so you must call the file of your home page index.html You have three options available with Netscape Composer: 1. You can create a brand new web page 2.
    [Show full text]
  • Netscape 6.2.3 Software for Solaris Operating Environment
    What’s New in Netscape 6.2 Netscape 6.2 builds on the successful release of Netscape 6.1 and allows you to do more online with power, efficiency and safety. New is this release are: Support for the latest operating systems ¨ BETTER INTEGRATION WITH WINDOWS XP q Netscape 6.2 is now only one click away within the Windows XP Start menu if you choose Netscape as your default browser and mail applications. Also, you can view the number of incoming email messages you have from your Windows XP login screen. ¨ FULL SUPPORT FOR MACINTOSH OS X Other enhancements Netscape 6.2 offers a more seamless experience between Netscape Mail and other applications on the Windows platform. For example, you can now easily send documents from within Microsoft Word, Excel or Power Point without leaving that application. Simply choose File, “Send To” to invoke the Netscape Mail client to send the document. What follows is a more comprehensive list of the enhancements delivered in Netscape 6.1 CONFIDENTIAL UNTIL AUGUST 8, 2001 Netscape 6.1 Highlights PR Contact: Catherine Corre – (650) 937-4046 CONFIDENTIAL UNTIL AUGUST 8, 2001 Netscape Communications Corporation ("Netscape") and its licensors retain all ownership rights to this document (the "Document"). Use of the Document is governed by applicable copyright law. Netscape may revise this Document from time to time without notice. THIS DOCUMENT IS PROVIDED "AS IS" WITHOUT WARRANTY OF ANY KIND. IN NO EVENT SHALL NETSCAPE BE LIABLE FOR INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES OF ANY KIND ARISING FROM ANY ERROR IN THIS DOCUMENT, INCLUDING WITHOUT LIMITATION ANY LOSS OR INTERRUPTION OF BUSINESS, PROFITS, USE OR DATA.
    [Show full text]
  • Growth of the Internet
    Growth of the Internet K. G. Coffman and A. M. Odlyzko AT&T Labs - Research [email protected], [email protected] Preliminary version, July 6, 2001 Abstract The Internet is the main cause of the recent explosion of activity in optical fiber telecommunica- tions. The high growth rates observed on the Internet, and the popular perception that growth rates were even higher, led to an upsurge in research, development, and investment in telecommunications. The telecom crash of 2000 occurred when investors realized that transmission capacity in place and under construction greatly exceeded actual traffic demand. This chapter discusses the growth of the Internet and compares it with that of other communication services. Internet traffic is growing, approximately doubling each year. There are reasonable arguments that it will continue to grow at this rate for the rest of this decade. If this happens, then in a few years, we may have a rough balance between supply and demand. Growth of the Internet K. G. Coffman and A. M. Odlyzko AT&T Labs - Research [email protected], [email protected] 1. Introduction Optical fiber communications was initially developed for the voice phone system. The feverish level of activity that we have experienced since the late 1990s, though, was caused primarily by the rapidly rising demand for Internet connectivity. The Internet has been growing at unprecedented rates. Moreover, because it is versatile and penetrates deeply into the economy, it is affecting all of society, and therefore has attracted inordinate amounts of public attention. The aim of this chapter is to summarize the current state of knowledge about the growth rates of the Internet, with special attention paid to the implications for fiber optic transmission.
    [Show full text]
  • Video Stylization: Painterly Rendering and Optimization with Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu
    IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 23, NO. 4, APRIL 2013 577 Video Stylization: Painterly Rendering and Optimization With Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu Abstract—We present an interactive video stylization system an example produced by our system. Although similar oil- for transforming an input video into a painterly animation. painting effects can be generated manually by the paint- The system consists of two phases: a content extraction phase on-glass technique, such animation production is not only to obtain semantic objects, i.e., recognized content, in a video and establish dense feature correspondences, and a painterly laborious but also requires considerable artistic skills. For rendering phase to select, place, and propagate brush strokes example, it took over two years for artists to manually produce for stylized animations based on the semantic content and object the 22-min Oscar-winning animation Old Man and the Sea.In motions derived from the first phase. Compared with the previous comparison, our interactive system allows an amateur player work, the proposed method has the following three advantages. to produce painterly animations from real-life video clips with First, we propose a two-pass rendering strategy and brush strokes with mixed colors in order to render expressive visual effects. far less time and effort. Second, the brush strokes are warped according to global object In the following, we review the related work for painterly deformations, so that the strokes appear to be naturally attached rendering and video stylization in the literature and provide to the object surfaces.
    [Show full text]
  • March/April 2006
    The newsletter for IPFW computer users Information Technology Services March-April 2006 By Joseph McCormick Manager of Client Support his spring, most Indiana counties T will observe Daylight Savings Time Data Security and Your Workstation (DST) for the first time since 1970. In 2006, DST begins at 2 a.m. on the first Sunday in April (April 2) and ends at 2 option involves a reboot which With recent security incidents at a.m. on the last Sunday in October refreshes your workstation, and the (October 29). other campuses and businesses, it has next time you log in to the network, become imperative that we all take Because of modifications to the Trend OfficeScan antivirus steps to protect data accessed through GroupWise, to accommodate the software installed on your Windows our computers. Precautions should change to Daylight Savings Time, your workstation automatically updates. also be taken to protect data stored on calendar items scheduled between April Keep your workstation up-to- any portable devices such as laptops, 2 at 2:00 a.m. and October 29 at 2:00 date with vendor patches and virus disks or flash drives. Here are a few a.m. are now showing up an hour later protection by activating updates key steps that we can all do quickly to than originally scheduled. Unfortunately, promptly when you are signaled that increase security significantly. this problem was unavoidable as we they are ready. Windows XP/2000 adjusted the system to recognize Daylight users: when you see the “msg”. at the Savings time. bottom of your tool bar that says you Your cooperation is key to The only way to correct this have new updates, please click on the providing overall campus problem is to manually change your button and add your updates.
    [Show full text]
  • SEED™ Assessment Guide for Family Planning Programming
    SEED™ Assessment Guide for Family Planning Programming SEED™ Assessment Guide for Family Planning Programming © 2011 EngenderHealth EngenderHealth 440 Ninth Avenue New York, NY 10001 U.S.A. Telephone: 212-561-8000 Fax: 212-561-8067 e-mail: [email protected] www.engenderhealth.org This publication was made possible through support provided by the F.M. Kirby Foundation. The opinions expressed herein are those of the publisher and do not necessarily reflect the views of the foundation. Cover design, graphic design, and typesetting: Weronika Murray and Tor de Vries Printing: Automated Graphic Systems ISBN 978-1-885063-97-7 Printed in the United States of America. Printed on recycled paper. Suggested citation: EngenderHealth. 2011. The SEED assessment guide for family planning programming. New York. Photo credits: M. Tuschman/EngenderHealth, A. Fiorente/EngenderHealth, C. Svingen/EngenderHealth. ii ContEntS Acknowledgments .................................................................................................................................. iv Acronyms and Abbreviations ................................................................................................................... v Introduction ................................................................................................................................. 2 EngenderHealth’s SEED Programming Model .......................................................................................... 3 How to Use This Assessment Guide........................................................................................................
    [Show full text]
  • Download Download
    Special Issue: Rethinking Affordance Once Again, the Doorknob: Media Theory Vol. 3 | No. 1 | 49-72 © The Author(s) 2019 Affordance, Forgiveness, and CC-BY-NC-ND http://mediatheoryjournal.org/ Ambiguity in Human-Computer Interaction and Human-Robot Interaction OLIA LIALINA Merz Akademie, Stuttgart, Germany Abstract Based on the author‟s keynote lecture at the 2018 „Rethinking Affordance‟ symposium (Stuttgart, Germany), this essay offers a comprehensive survey of the tensions between J.J. Gibson‟s and Don Norman‟s perspectives on the concept of affordance, and formulates an incisive critique of how Norman reconfigured Gibson‟s initial theory. The essay‟s key arguments are triangulated in a critical dialogue between design practices, affordance theory, and a critical reading of design pedagogy. Drawing on her own practice as a pioneering net artist and digital folklore researcher, the author moves from early internet design practices through human-computer interaction and user experience design towards a speculative consideration of the affordances of human- robotic interaction. Keywords AI, Affordance, Interface Design, UX Introduction This essay aims to rethink the concept of affordance through a triangulated analysis of correspondence with design practitioners, critical re-readings of canonical texts, and reflexive engagement with my own creative and pedagogical practices. As both a net artist and an instructor in the field of digital design, I strive to reflect critically on the medium that I work with, in part by way of exploring and showing its underlying properties. Furthermore, as a web archivist and digital folklore researcher, I am also Media Theory Vol. 3 | No. 1 | 2019 http://mediatheoryjournal.org/ interested in examining how users deal with the worlds that they are thrown into by designers.
    [Show full text]
  • History of the Internet-English
    Sirin Palasri Steven Huter ZitaWenzel, Ph.D. THE HISTOR Y OF THE INTERNET IN THAILAND Sirin Palasri Steven G. Huter Zita Wenzel (Ph.D.) The Network Startup Resource Center (NSRC) University of Oregon The History of the Internet in Thailand by Sirin Palasri, Steven Huter, and Zita Wenzel Cover Design: Boonsak Tangkamcharoen Published by University of Oregon Libraries, 2013 1299 University of Oregon Eugene, OR 97403-1299 United States of America Telephone: (541) 346-3053 / Fax: (541) 346-3485 Second printing, 2013. ISBN: 978-0-9858204-2-8 (pbk) ISBN: 978-0-9858204-6-6 (English PDF), doi:10.7264/N3B56GNC ISBN: 978-0-9858204-7-3 (Thai PDF), doi:10.7264/N36D5QXN Originally published in 1999. Copyright © 1999 State of Oregon, by and for the State Board of Higher Education, on behalf of the Network Startup Resource Center at the University of Oregon. This work is licensed under a Creative Commons Attribution- NonCommercial 3.0 Unported License http://creativecommons.org/licenses/by-nc/3.0/deed.en_US Requests for permission, beyond the Creative Commons authorized uses, should be addressed to: The Network Startup Resource Center (NSRC) 1299 University of Oregon Eugene, Oregon 97403-1299 USA Telephone: +1 541 346-3547 Email: [email protected] Fax: +1 541-346-4397 http://www.nsrc.org/ This material is based upon work supported by the National Science Foundation under Grant No. NCR-961657. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.
    [Show full text]
  • Bbvaopenmind.Com 19 Key Essays on How Internet Is Changing Our Lives
    bbvaopenmind.com 19 Key Essays on How Internet Is Changing Our Lives CH@NGE Zaryn Dentzel How the Internet Has Changed Everyday Life bbvaopenmind.com How the Internet Has Changed Everyday Life ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Zaryn Dentzel CEO, Tuenti bbvaopenmind.com How the Internet Has Changed Everyday Life Society, Community, Individuals Zaryn Dentzel 5 Zaryn Dentzel es.wikipedia.org/wiki/Zaryn_Dentzel Illustration Catell Ronca bbvaopenmind.com 7 Zaryn Dentzel Zaryn Dentzel is the founder and CEO of Tuenti, a Spanish tech company centered on mobile communications whose multi-platform integrates the best of instant messaging and the most private and secure social network. Also a member of the cabinet of advisors to Crown Prince Felipe for the Principe de Girona Foundation, Dentzel is involved in promoting education and entrepreneurship among young people in Spain. He studied at UC Santa Barbara and Occidental College, graduating with a degree in Spanish Literature, and Diplomacy and World Affairs. How the Internet Has Changed Everyday Life Sites and services that have changed my life tuenti.com techcrunch.com spotify.com Kinect Training bbvaopenmind.com Society, Community, Individuals bbvaopenmind.com 9 How the Internet Has Changed Everyday Life What Happened? The Internet has turned our existence upside down. It has revolutionized communications, to the extent that it is now our preferred medium of ev- Zaryn Dentzel eryday communication. In almost everything we do, we use the Internet. Ordering a pizza, buying a television, sharing a moment with a friend, send- ing a picture over instant messaging. Before the Internet, if you wanted to keep up with the news, you had to walk down to the newsstand when it opened in the morning and buy a local edition reporting what had happened the previous day.
    [Show full text]