#Redactor digital que es full#

In the light of this chronological order, the author defines digital identity as the total sum of digital traces relating to an individual or a community which can be made up, consciously or unconsciously, of three main categories: “profile traces” (representing who I am), “browsing traces” (representing how I behave) and “written or declarative traces” (representing what I think). The first social traces of the digital identity issue then emerged from 2005 onwards. He suggests that the issue of “personal privacy” began to emerge towards the end of the 1990s and through the early 2000s with the emergence of large social networks from 2003 onwards. He argues that until the mid-1990’s, digital identity was primarily a question of “digital user IDs” in which data security was the dominant concern, particularly for businesses and public administrations. In order to develop these issues, the author focuses on search engines and social media while at the same time presenting the legal remedies and other solutions provided by the private sector.ģAs to the definition of digital identity, the author adopts a chronological approach, going back to the SAFARI case in 1974 which concerned an automated system for handling administrative files in France. E-reputation being presented as the main issue related to digital identity. He describes these issues mostly in an analogical and metaphorical way in order to ensure that his ideas are easily understood.ĢIn order to address the topic, he provides a comprehensive definition of digital identity, before developing the related issues and the risks which are likely to arise in the future. The exchange of forces that religion promises is often sought and found in the act of writing poetry: ‘Between the page and the eye is where the power happens.1As a lecturer in information sciences and communication at the University of Nantes, Olivier Ertzscheid provides an overview of the fundamental issues that every Internet user needs to consider with respect to digital identity. Other times, the collection’s voice finds itself in a stand-off with its central preoccupation: ‘What would hope do to me if I couldn’t stare it out?’ The poems’ speakers and characters betray longing for the transcendence that ritual or worship might provide, but this is a book of irreverent religious feeling, not of religion or religiosity. Lewis’s day job as a nurse is subtly evident in images of the rawness and brutality of the human work of being in the world. Sometimes hope is the unclaimed joys of youth, ‘a memory of happiness you couldn’t use’ sometimes hope is cast as an oddly watchful force exerting pressures on human follies and wounds.

Images of the sacred and the profane, temple and town, host an oscillating meditation on the notion of hope. The idea of hopefulness is central to Lewis’s collection, which has been twenty years in the making. While this might qualify as ‘uncreative writing’, in that its conceit is seemingly the inverse of the personal lyric, it, too, is a portrait of the artist reading, absorbing, repelling, mocking, and finding delight in a weird, flat, bewildering multiverse of screens where poems are being written all the time. redactor is composed of censored, dismembered, remembered emails, memos, text messages, and webfeeds. The lyric voice of The Blue Decodes, however, is less fracture and fragment, and more a compelling portrait of an alert mind in tension with itself.

#Redactor digital que es full#

Eddie Paterson’s new book is full of redacted texts of digital trash and treasure it is a blacked-out, cut-up collage of the textual chatter of our ‘post-digital existence’.

In her début collection, Cassie Lewis is described as speaking for ‘a generation whose ambitions and emotions have become very fractured and fragmented’. Two recent collections by two very different voices have both been ‘blurbed’ as works of fragmentation.