Negotiating the contemporary politics of knowledge production from “outsider within” social locations raises some fundamental dilemmas. In a misguided effort to protect standards, many of my academic colleagues within colleges and universities derogate any work that they see as being too “popular” as less rigorous and scholarly than other work. Worse yet, having one’s work deemed “political” demotes it to the realm of the nonacademic.Collins, Patricia Hill, and Patricia Hill Collins. On Intellectual Activism, Temple University Press, 2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/washington/detail.action?docID=1053911.Created from washington on 2021-05-24 20:31:55.

very young children, effectively from birth, being deliberately targeted with content which will traumatise and disturb them, via networks which are extremely vulnerable to exactly this form of abuse.

These videos, wherever they are made, however they come to be made, and whatever their conscious intention (i.e. to accumulate ad revenue) are feeding upon a system which was consciously intended to show videos to children for profit. The unconsciously-generated, emergent outcomes of that are all over the place.To expose children to this content is abuse.

More than just another internet conspiracy theory, QAnon is a movement of people who interpret as a kind of gospel the online messages of an anonymous figure – “Q” – who claims knowledge of a secret cabal of powerful pedophiles and sex traffickers. Within the constructed reality of QAnon, Donald Trump is secretly waging a patriotic crusade against these “deep state” child abusers, and a “Great Awakening” that will reveal the truth is on the horizon.

projective identity,

real-world identity:

First, there is a virtual identity: one's identity as a virtual character in the virtual world of Arcanum-in my case the Half-Elf Bead Bead.

The game randomizes certain dialogs and key moments. This forces you to come up with a story in your mind and ascribe meaning to your journey and to the space. The filling in of narrative gaps is entirely in your mind. This process is not adjacent to play; it is an essential part of play itself.

Interactivity is, by definition, active. It's the g ive-and-take between player and rule system. I press a button on my controller and informa-tion is communicated to the game. Th e game updates the image on the screen, feeding information back to me. This new information provides the context for my next move. My actions influence the game and the game influences my actions in an ongoing chain of cause and effect

is taken as a given ,"lithin t he game industry that the major difference between games and other forms of popular entertainment is interactiv-ity. To p lay is to engage in a dialogue-information flows back and forth between p layer and game. With film, literat ure, theater-pretty much everything else- the flow of information is one way only. When you watch a movie or read a book, you aren't engaging in a dialogue; you are listening to a monologue.

These include: wall inscriptions of the temples in ancient Egypt that are connected two-dimensionally (on one wall) or three dimensionally (from wall to wall or room to room); the I Ching; Apollinaire’s “calligrammes” in which the words of the poem “are spread out in several directions to form a picture on the page, with no clear sequence in which to be read”

In ergodic literature, nontrivial effort is required to allow the reader to traverse the text.