Robbie Cube I think Chris Spedding's Sharks were the first up, but that was a long time ago, and my memories of that night may have been somewhat I think Aerosmith came on second, touring on "Get Your Wings" - they were already gaining some noteriety, while Sharks never made much of a dent in the US market, and by this point Andy Fraser had already left the band, replaced by one Buster Cherry Jones I will assume that wasn't his given name! From what I've read, The Sharks broke up in earlywith singer Snips joining Baker-Gurvitz Army, and guitarist Chris Spedding puting out solo albums and getting involved in both the punk and rockabilly movements. This was my first show at The Aragon as well.
Introduction In earlysome of the most prominent internet companies at the time helped defeat two related pieces of legislation write a journal entry deviantart art had been making their way through the United States Congress.
The outcome, each side argued, would have crucial implications for a particular depiction of creativity that was central to claims made about the changes to the media landscape associated with the label Web 2. Dovetailing with a separate discourse on the rise of digital natives e.
Having grown up with digital tools of content production and distribution, these media makers had embraced new technology and upended traditional notions of creativity and related cultural practices.
In place of Romantic notions of ownership, property, and rights as authors, they had help usher in a new era of creativity rooted in community and sharing. In short, there seemed to be a parsimonious formula underlying these particular claims: In this paper, I argue that these young media makers produced Web 2.
Rather than upending traditional notions of creativity, Web 2. At the center of my fieldwork was an investigation of a web site called DeviantArt www.
Uses of the web that some saw as fundamental to how Web 2. In asking and answering this question, they helped produce Web 2. To participants in DeviantArt, at stake in the Share Wars were the future of the site and the role of the web in their creative practice.
As Michael Zimmer noted, Web 2. I draw primarily from key texts by several influential academics and public intellectuals whose writings exemplified these perspectives: There were three main elements of this consensus.
First, the web democratized creativity. Second, emergent forms of creative production were social, collective, and most importantly, anchored in community. Community formation online had enhanced traditional grassroots creativity Jenkins, User-generated content — one of the key elements of Web 2.
Finally, the consensus argued that this democratized creativity, anchored in community, was sparked by non-commercial motivations and distinct from the commercial sphere.
As individual motivations and rewards were said to be non-commercial, the nature of the broader endeavor was as well.
The two modes were markedly distinct. Sharing and Web 2. Nicolas John has argued that sharing became a cultural keyword during this period in relation to Web 2. The everyday use of the word on these sites incorporated sharing in two senses: Yet even when looking narrowly at sharing as distribution, the term was overloaded in the Web 2.
Benklera model of the social production of goods in which the sharing of material resources — such as computing power — is a central aspect and crucial differentiating factor from traditional market production. The foundation of community and collective action, according to Shirkywas in sharing information.
These sharing economies have persisted, Lessig argued, despite the commercialization of the web, even thriving in various hybrid forms [ 14 ]. Sharing in these accounts ranged widely from gift giving to the use of common resources to volunteerism to spreading the news to the exchange of family photographs.
While the meaning of sharing slips in this theorizing and celebrating of Web 2. Sharing was another warmly persuasive word to add to the list. Indeed, early waves of critical accounts of Web 2. One target was the revolutionary underpinnings of many of these claims.
Those who saw a possible return to the utopian, communalist, and democratic ideals of early internet designers and users Turner, embraced the rhetoric of Web 2.
Similarly, idealization of democratized creativity also has a long history Johns, But the crucial difference was how the internet and Web 2. Empirical studies of MySpace Music Suhr, and YouTube Burgess and Green, indicated the presence of content backed by financial motivations and rewards whether posted by corporate entities or freelance creators.
Even if not all contributed content came with a financial motivation or reward e. In other words, such activity was operating in a largely commercial economic sphere rather than a conceptually distinct sphere of non-market activity.DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art.
Deviant Art: Search. Journal Entry: Fri Jun 2, , AM. Gallery * Watch Me * Note Me. Hi people. DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art.
send me a note or write here. Example (without the Also, only 3 slots for this. Made a journal entry, you can see there how many slots are still open: Halfprice bust. Beautiful photography meets high quality facts to create a nonfiction title that everyone should see.
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Hostess of: "Your Preparation Station", "Back to Basics Kitchen" & "Surviving on Shoestrings. DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art. (!!) since I made a Journal entry.
So I figured to maybe make an entry to just keep you all up to date and stuff. What is your favorite type of art to create? Umm Writing is an.