Abstract: The concept "cyberethnography " remains undefined in the social sciences while, at the same time, still overlapping too much with the more well-known concept of "virtual ethnography." The aim of our paper is to remedy this situation by underlining new directions in the ethnographic study of computer mediated settings. To do so, we define cyberspace as computer-mediated contexts intrinsically related to supposed-to-be "real " places. From this point of view the ethnography of online groups is not just the ethnography of the groups online (or the online ethnography of groups), but it is both the ethnography of online and related off-line situations, the ethnography of humans and non-human actors in these related

©This paper is not for reproduction without permission of the author. Recursion or self-reference is a key feature of contemporary research and writing in semiotics. The paper commences by focusing on the role of recursion in poststructuralism. It is suggested that much of what passes for recursion in this field is in fact not recursive all the way down. After the paradoxical meaning of radical recursion is adumbrated, topology is employed to provide some examples. The properties of the Moebius strip prove helpful in bringing out the dialectical nature of radical recursion. The Moebius is employed to explore the recursive interplay of terms that are classically regarded as binary opposites: identity and difference, object and subject, continuity and discontinuity, etc. To realize radical recursion in an even more concrete manner, a higher-dimensional counterpart of the Moebius strip is utilized, namely, the Klein bottle. The presentation concludes by enlisting phenomenological philosopher Maurice Merleau-Ponty’s concept of depth to interpret the Klein bottle’s extra dimension. 1. SEMIOTICS, POSTSTRUCTURALISM, AND RECURSION In classical signification, the stability of the relationship between the signifier and what it signifies is maintained by preserving the anonymity of the former. Attention is fixed

movement and the creation of dance through numbers

Abstract not found

Open street drug markets in the western industrialized world often create fear and outrage in the community. Many arguments posited by resident groups and local businesses against the introduction of harm reduction initiatives, such as fixed site needle and syringe programmes (NSP) and supervised injecting facilities (SIF), are based on the fear that such facilities will attract street drug markets. In this paper, we explore the fear produced in a city’s encounter with street heroin use. Through linking a Deleuzian ontology to spatial practices associated with the street drug market, we provide a deeper understanding of the fear of public drug use. After examining how fear is produced, we then connect fear with the flows of capital in street drug markets and to the political and economic outcomes from such encounters. © 2004 Elsevier B.V. All rights reserved.

In spite of the common belief that Chinese natural philosophy and medicine have a unique frame of reference completely foreign to the West, this article argues that they in fact have significant cognitive and epistemic similarities with certain esoteric health beliefs of pre-Christian Europe. From the standpoint of Cognitive Science, Chinese Medicine appears as a proto-scientific system of health observances and practices based on a symptomological classification of disease using two elementary dynamical-processes pattern categorization schemas: a hierarchical and combinatorial inhibiting–activating model (Yin-Yang), and a non-hierarchical and associative five-parameter semantic network (5-Elements/Agents). The concept-map of the five-parameter model amounts to a pentagram, a commonly found geomantic and spell casting sigil in a number of pre-Christian health and safety beliefs in Europe, to include the Pythagorean cult of Hygieia, and the Old Religion of Northern Europe. This non-hierarchical pattern-recognition archetype/ prototype was hypothetically added to the pre-existing hierarchical one to form a hybrid nosology that can accommodate for a change in disease perceptions. The selection of five parameters rather than another number might be due to a numerological association between the integer five, the golden ratio, the geometry of the pentagram and the belief in health and wholeness arising from cosmic or divine harmony. In any case, this body of purely empirical knowledge is nowadays widely flourishing in the US and in Europe as an alternative to Western Medicine and with the claim of being a unique, independent and comprehensive medical system, when in reality it is structurally—and perhaps historically—related to the health and safety beliefs of pre-Christian Europe; and without the prospect for an epistemological rupture, it will remain built upon rudimentary cognitive modalities, ancient metaphysics, and a symptomological view of disease.

On behalf of:

This work would not have been possible without several different types of support. From the Norwegian Board of Research came financial support within the SKIKT program. The network of this program has been very supportive, and did a good job to connect Norwegian and foreign scholars, promote and publish the work of inexperienced and unknown scholars, and create inspiring meeting places for the participants. I have been a Dr art. student at the University of Bergen, where I found my advisor Espen Aarseth. His advisor character is knowledgeable, imaginative and demanding, but his OOC role of friend and supporter has been important to me since before I wrote the first outline of this work. Volda University College contributed the environment in which I work, administrative support, sheltered periods of time in order to do the last part of the writing and editing, and friendly faces when I needed the company of flesh-world people, not avatars and characters of the games. Holding the fort while I was away from my duties of teaching and administration were Erling Sivertsen, Jan Arne Halvorsen and Jan Ole Bolsø, special co-workers among the indispensable colleagues at the Department of Media Studies.

During the 1970s and early 1980s, a diverse group of artists, musicians, sculptors, video filmmakers and writers congregated in downtown New York and forged a radical creative network. Distinguished by its level of interactivity, the network discarded established practices in order to generate new, often-interdisciplinary forms of art that melded aesthetics and community. “All these artists were living and working in an urban geographical space that was not more than twenty-by-twenty square blocks, ” notes Marvin J. Taylor, editor of The Downtown Book. “Rarely has there been such a condensed and diverse group of artists in one place at one time, all sharing many of the same assumptions about how to make new art. ” 1 Tim Lawrence runs the Music Culture programme in the School of Social

We gratefully acknowledge the support of the (UK) Economic and Social Research