[NetBehaviour] [Non] Fiction Eclipsing + Synthetic Presencing

[mez breeze]

*[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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