Panagiotis Tsigaris and Jaime A. Teixeira da Silva
The intersection between academia and social media is gradually overlapping. The ability to vent personal and professional discord online, either through blogs or social media, has had both positive and negative consequences on academic communication, with the public and/or in the public domain. ResearchGate (RG) is one of the most popular academic social media sites that allows commenting, either in response to published papers or to questions that are posed on that platform. This paper explores an important aspect of a high-profile, topical and controversial 2017 paper (Derek Pyne; Journal of Scholarly Publishing; DOI: 10.3138/jsp.48.3.137) that had based itself on a flawed blacklist created by Jeffrey Beall. In that paper, unfounded claims were made regarding financial rewards as remuneration schemes at a “small business school” in Canada related to publishing papers in “predatory” journals, i.e., in open access journals that were blacklisted by Beall. Based on those claims, Pyne used RG as a platform to target academics at his research institute. Pyne could have, but did not, use the scholarly platform to engage with his colleagues in an academic debate about his controversial findings, causing personal disrepute on three occasions. Consequently, RG was contacted with a claim of defamation on each occasion. Within hours of each claim, Pyne’s comments were deleted. In early May, RG also erased his social media account. The issue of actual or potential insults in the public domain, such as on blogs, is rarely discussed, much less related to academic social media sites like RG. This case study, and the issues discussed herein related to social media more broadly, will be useful for academics to better navigate increasingly challenging publishing waters.
silence, from whence stories are only rarely heard, and about which, we only rarely tell stories. This is the realm of expulsion.
The unpredictable moment of Chiakwa’s death, and others since then, in the context of forced detention and deportations, is one of those rare moments in which the realm of expulsion, suddenly visible, revealed the fractures and strains in the narrative economy that Agnes Woolley calls “the asylum story”; See, for an excellent article on the veracity claim in narratives in the asylum regime, Agnes Woolley (2017), Narrating the “Asylum Story
Durchsetzung des Anthropozän geht es damit auch um wissenschaftliche Reputation, Deutungshoheit und das Abstecken von Claims, die in den Narrativen transportiert werden. Die Bedeutung der Anthropozän-Hypothese wird mit den großen wissenschaftlichen Paradigmenwechseln wie Darwins Evolutionstheorie ( Steffen et al. 2011 : 862) oder der von Galilei ausgelösten Kontroverse der Stellung des Menschen im Universum ( Latour 2014 : 3f.) parallelisiert.
Durch die Deklaration des neuen Erdzeitalters verschiebt sich zudem die Hierarchie der Disziplinen: Die wichtigsten Impulse für
This article deals with the cultural-historical change of public self-presentation and construction of identity at the end of the 19th century with the examples of William F. Cody (“Buffalo Bill”) and Karl May. The impact of the various public, both real and virtual, stages, the change of selfrepresentation as response to public reaction, and the interaction of public and private self-perception will be examined in particular with regard to the question how authenticity and illusion are negotiated individually and socially (within the media and publicly). The importance of physical presentation (as a sign of authenticity) and the increasing necessity to claim and proof (and thus to simulate) “reality” are particular objects of study. Both sample cases, within the specific cultural-historical context of their time, demonstrate change and diversification of public self-presentations which already display in their increasing virtuosity and plurality important aspects of modern mass mediality.
The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.
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1 In his monograph on Rose , Andrzej Szpulak focuses on the film’s continuities with the Polish national discourse. However, he declares that he is only interested in the narrative, claiming that, in his critical approach, the visual qualities of the film are of secondary importance (Szpulak 2016: 31). While accepting such a critical perspective, I will undertake a radically different critical strategy by demonstrating how Rose uses various formal, mostly audiovisual, devices to subvert certain elements of the national tradition.
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