meeting are a must, and they are perfectly happy with folk dance classes
instead of a new creative production. They have not achieved or changed anything,
they are absorbed in provinciality, laziness and libertinism. Their life feeling is that
of Chekhovian erratic stones, which stand in their own way. They go to work, they
shop, eat, shit, make love, sleep and fear the future just as their neighbours whom
Michal, the lead character, despite several attempts at innovation, is trapped in
his own libertinian obsessions and commercial pressure
REFERENCES Elmer, Greg; Gasher, Mike 2005. Contracting Out Hollywood: Runaway Productions and Foreign Location Shooting . Lanham: Rowman & Littlefield. Ibrus, Indrek 2015. ‘Audiovisual Policymaking in Estonia at Times of Convergence: An “Innovation System” as a Policy Rationale’. – Baltic Screen Media Review 3, 102–115.
REFERENCES Anonymous s.a. ‘Diffusion of Innovation Theory’. – Behavioral Change Models . http://sphweb.bumc.bu.edu/otlt/MPH-Modules/SB/BehavioralChangeTheories/BehavioralChangeTheories4.html (12 November 2018). Cohen, Don; Prusak, Laurence 2001. In Good Company: How Social Capital Makes Organizations Work . Boston: Harvard Business School Press. Fu, Qianhong 2004. Trust, Social Capital, and Organizational Effectiveness . MA thesis. Virginia Tech. Blacksburg. Kotler, Philip; Roberto, Ned; Lee, Nancy 1989. Social Marketing: Strategies for Changing Public
Cloud Opera or The Dido Problem (Vaba Lava, Tallinn, Feb-Mar 2019) is a theatrical performance investigating, through artistic means, the human condition in the datafied world. The play was created in collaboration between Vaba Lava theatre and Tallinn University’s Centre of Excellence in Media Innovation and Digital Culture (MEDIT). In terms of its representations, the play combined references to man-made data ‘clouds’ with knowledge on atmospheric clouds and suggested that the former are just as unpredictable and uncontrollable as the latter. In this article, Liina Keevallik, the author and the scenographer of the performance together with Indrek Ibrus, a media researcher, discuss the uses of the media archaeological approach both in artistic practice and in creating “Cloud Opera”. We also discuss what media archaeological “findings” we could glean from the scenic elements of the play.
; Strange, Niki; Kerr, Paul; Medrado, Andrea 2012. Multiplatforming Public Service Broadcasting: The Economic and Cultural Role of UK Digital and TV Independents. London: Royal Holloway, University of Sussex, London Metropolitan University. Boczkowski, Pablo 2004. Digitizing the News: Innovation in Online Newspapers. Cambridge: MIT Press. Born, Giorgina 2004. Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Secker & Warberg. van den Bulck, Hilde; Tambuyzer, Sil 2013. ‘Collisions of Convergence: Flemish News Workers’ and Management’s Perceptions of the
.; Glockner, H. 2002. Zukunftsforschung und Unternehmen. Praxis, Methoden, Perspektiven. Essen: Z punkt GmbH Büro für Zukunftsgestaltung. Castells, M. 1996. The Rise of the Network Society: The Information Age: Economy, Society, and Culture. Oxford: Blackwell. Davis, C. H.; Creutzberg, T.; Arthurs D. 2009. ‘Applying an innovation cluster framework to a creative industry: The case of screen-based media in Ontario.’ - Innovation: Management, Policy & Practice, 11, 201-214. Deuze, M. 2007. Media Work. Cambridge: Polity. Evans, G. 2009a. ‘Creative cities, creative spaces and
Sense of Innovation.’ – Journalism Studies , 19:1, 4–24. Głowacki, Michał; Jackson, Lizzie (eds.) 2013. Public Media Management for the Twenty-First Century: Creativity, Innovation and Interaction . Routledge. Goodwin, Peter 2017. ‘An Impossible Challenge for Public Service Media? The Intellectual Context of the Networked Society’. – Lowe, Gregory Ferrell; Van den Bulck, Hilde; Donders, Karen (eds.), Public Service Media in the Networked Society . RIPE@2017. Nordicom, 29–41. Hermida, Alfred; Fletcher, Fred; Korell, Darryl; Logan Donna 2012. ‘Share, Like
Studies Journal XII, 18, 115-127. Dusi, Nicola 2015. ‘Don Quixote, Intermediality and Remix: Translational Shifts in the Semiotics of Culture’. - International Journal of Cultural Studies 18, 1, 119-134. Dusi, Nicola; Spaziante, Lucio (eds.) 2006. Remix-Remake. Pratiche di replicabilità. Rome: Meltemi. www.ec-aiss.it/biblioteca/biblioteca.php (23 September 2015). Eco, Umberto 1979. The Role of the Reader: Exploration in the Semiotics of Texts. Bloomington: Indiana University Press. Eco, Umberto 1997. ‘Innovation and Repetition: Between Modern and Post-Modern Aesthetics
. Hallin, Daniel; Mancini, Paolo 2012. Comparing Media Systems Beyond the Western World. Cambridge: Cambridge University Press. Ibrus, Indrek; Merivee, Astra 2014. ‘Strategic Management of Crossmedia Production at Estonian Public Broadcasting’. - Baltic Screen Media Review 2, 96-120. Ibrus, Indrek; Scolari, Carlos A. 2012. Crossmedia Innovations: Texts, Markets, Institutions. Frankfurt am Main: Peter Lang. Jenkins, Henry 1992. Textual Poachers: Television Fans and Participatory Culture. New York: Routledge. Jenkins, Henry 2006. Convergence Culture: Where the Old and New
Hollywood Film over 75 Years’. – I-Perception , 569–576. https://doi.org/10.1068/i0441aap Del Vecchio, Marco; Kharlamov, Alexander; Parry, Glenn; Pogrebna, Ganna 2018. ‘The Data Science of Hollywood: Using Emotional Arcs of Movies to Drive Business Model Innovation in Entertainment Industries’. – Available at SSRN: https://ssrn.com/abstract=3198315 Dimberg, Ulf; Thunberg, Monika; Elmehed, Kurt 2000. ‘Unconscious facial reactions to emotional facial expressions’. – Psychological science , 11(1), 86–89. Elfenbein, Hillary Anger; Ambady, Nalini 2003. ‘When familiarity