*[Non] Fiction Eclipsing + Synthetic Presencing<http://arsvirtuafoundation.org/research/2008/06/13/non-fiction-eclipsing-synthetic-presencing/> *
** *Entertainment* <http://commons.wikimedia.org/wiki/Category:Entertainment>is associated with the concepts of fiction and non-fiction. Fiction involves the projection of a *willing suspension of disbelief*<http://www.clas.ufl.edu/ipsa/journal/2003_holland06.shtml>with variables designed to further narrative progression. Indicators of traditional fiction include characterisation, foregrounding, plot and/or sub-plot[s]. Non-fiction is fiction's logical counterpoint; chronology, history and "fact" play clear parts in non-fiction constructions. There are *many variations* <http://www.criticalreading.com/fictionvnonfiction.htm> on the standard fiction/non-fiction dichotomy. Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses *introspectively*<http://www.emeraldinsight.com/Insight/viewContentItem.do?contentType=Article&hdAction=lnkhtml&contentId=858382>and *externally*<http://www.killermovies.com/forums/archive/index.php/t-335834-crying-to-terminator-movies.html>. Current synthetic practices are *refashioning*<http://speedbird.wordpress.com/2008/06/12/i-have-seen-the-future-of-urban-life/>this entertainment base via the perpetuation of types of unintentional and *deliberately augmented* <http://news.bbc.co.uk/2/hi/technology/7440658.stm>recreation. These recreation types are reliant on immediacy of response, *play* <http://www.cheethamzombies.blogspot.com/>, and Pranksterism. They employ *Sandboxing*<http://www.nemertes.com/build_an_open_source_and_web_2_0_sandbox>, *Gonzoism* <http://espace.library.uq.edu.au/eserv/UQ:10764/mhirst_gonzo.pdf>and *spontaneous engagement* <http://www.100strangers.com/About.aspx>. This type of *entertainment* <http://www.lolkingdom.com/> is termed _*Presencing*_. Presencing involves loose clusters of pursuits that evolve in, or are *associated with* <http://www.kk.org/thetechnium/archives/2008/06/scenius_or_comm.php>, synthetic environments. Examples include the* Streisand Effect<http://en.wikipedia.org/wiki/Streisand_effect> *, *Supercutting*<http://waxy.org/2008/04/fanboy_supercuts_obsessive_video_montages/>, *Flashmobbing* <http://en.wikipedia.org/wiki/Flashmobbing>, the *Slashdot/Digg Effect<http://www.datacenterknowledge.com/archives/2008/Jun/12/yahoo_buzz_traffic_the_slashdot_effect_squared.html> *, acts by the group *Anonymous,*<http://www.encyclopediadramatica.com/Anonymous> * Image macro generation <http://wigflip.com/roflbot/>* and *Internet meme threading* <http://en.wikipedia.org/wiki/Internet_meme>. Less defined examples include: MMOG guild* interactions*<http://www.gamecareerguide.com/features/418/masters_thesis_chatting_in_.php?page=2>[think: user generated games-within-games], Virtual World *involvements* <http://banedoll.blogspot.com/2008/05/day-23-release.html>, and Social Networking via *application adoption*<http://blogs.guardian.co.uk/games/archives/2007/11/15/playing_games_with_facebook_the_future_of_virtual_worlds.html>and *creation* <http://failwhale.com/>. These instances illustrate how Presencing pushes recreation beyond a fictionalised/non-fictionalised framework. Presencing showcases accidental or reflexive entertainment elements where the fictional/non-fictional divide is erased; associated validity qualifiers are also removed and reconceptualised. *Amateur*<http://www.audioenglish.net/dictionary/amateur.htm>production is equated with valued expression. Presencing also offers adaptive potential for *augmented attempts*<http://afp.google.com/article/ALeqM5iKMcgJgp9nGYbaTofk_jpi56JpeA>at mediating geophysical constraints. -- : http://augmentology.com : http://knott404.blogspot.com : http://netwurker.livejournal.com
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