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Monday, March 15, 2021

Simulacrum

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Simulacrum

A simulacrum (plural: simulacra from Latin: simulacrum, which means "likeness, similarity") is a representation or imitation of a person or thing. The word was first recorded in the English language in the late 16th century, used to describe a representation, such as a statue or a painting, especially of a god. By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. Literary critic Fredric Jameson offers photorealism as an example of artistic simulacrum, in which a painting is created by copying a photograph that is itself a copy of the real thing. Other art forms that play with simulacra include trompe-l'œil, pop art, Italian neorealism, and French New Wave.

Philosophy

Simulacra have long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to copy precisely the original. The second is intentionally distorted in order to make the copy appear correct to viewers. He gives the example of Greek statuary, which was crafted larger on the top than on the bottom so that viewers on the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from the visual arts serves as a metaphor for the philosophical arts and the tendency of some philosophers to distort the truth so that it appears accurate unless viewed from the proper angle.

Nietzsche addresses the concept of simulacrum (but does not use the term) in the Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.

Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. According to Baudrillard, what the simulacrum copies either had no original or no longer has an original, since a simulacrum signifies something it is not, and therefore leaves the original unable to be located. Where Plato saw two types of representation—faithful and intentionally distorted (simulacrum)—Baudrillard sees four: (1) basic reflection of reality; (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which "bears no relation to any reality whatsoever". In Baudrillard's concept, like Nietzsche's, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which an accepted ideal or "privileged position" could be "challenged and overturned". Deleuze defines simulacra as "those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance".

Alain Badiou, in speaking with reference to Nazism about Evil, writes, "fidelity to a simulacrum, unlike fidelity to an event, regulates its break with the situation not by the universality of the void, but by the closed particularity of an abstract set ... (the 'Germans' or the 'Aryans')".

Recreation

Recreational simulacra include reenactments of historical events or replicas of landmarks, such as Colonial Williamsburg and the Eiffel Tower, and constructions of fictional or cultural ideas, such as Fantasyland at The Walt Disney Company's Magic Kingdom. The various Disney parks have been regarded as the ultimate recreational simulacra by some philosophers, with Baudrillard noting that Walt Disney World Resort is a copy of a copy, or "a simulacrum to the second power". In 1975, Italian author Umberto Eco argued that at Disney's parks, "we not only enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it".

Examining the impact of Disney's simulacrum of national parks, Disney's Wilderness Lodge, environmentalist Jennifer Cypher and anthropologist Eric Higgs expressed worry that "the boundary between artificiality and reality will become so thin that the artificial will become the centre of moral value". Eco also refers to commentary on watching sports as sports to the power of three, or sports cubed. First, there are the players who participate in the sport (the real), then the onlookers merely witnessing it, and finally the commentary on the act of witnessing the sport. Visual artist Paul McCarthy has created entire installations based on Pirates of the Caribbean and theme park simulacra, with videos playing inside the installation.

Caricature

An interesting example of simulacrum is caricature. When an artist produces a line drawing that closely approximates the facial features of a real person, the subject of the sketch cannot be easily identified by a random observer; it can be taken for a likeness of any individual. However, a caricaturist exaggerates prominent facial features, and a viewer will pick up on these features and be able to identify the subject, even though the caricature bears far less actual resemblance to the subject.

Iconography

Beer (1999: p. 11) employs the term "simulacrum" to denote the formation of a sign or iconographic image, whether iconic or aniconic, in the landscape or greater field of Thangka art and Tantric Buddhist iconography. For example, an iconographic representation of a cloud formation sheltering a deity in a thanka or covering the auspice of a sacred mountain in the natural environment may be discerned as a simulacrum of an "auspicious canopy" (Sanskrit: Chhatra) of the Ashtamangala. Perceptions of religious imagery in natural phenomena approach a cultural universal and may be proffered as evidence of the natural creative spiritual engagement of the experienced environment endemic to the human psychology.

Word usage

The Latinised plural simulacra is interchangeable with the anglicised version simulacrums.

Simulacrum as artificial beings

Simulacra often appear in speculative fiction. Examples of simulacra in the sense of artificial or supernaturally or scientifically created artificial life forms include:

Also, the illusions of absent loved ones created by an alien life form in Stanislaw Lem's Solaris can be considered simulacra.

 

Internet meme

From Wikipedia, the free encyclopedia

An Internet meme, more commonly known simply as a meme (/mm/ MEEM), is a type of idea, behaviour, or style (meme) that is spread via the Internet, often through social media platforms and especially for humorous purposes. Memes can spread from person to person via social networks, blogs, direct email, or news sources. They may relate to various existing Internet cultures or subcultures, often created or spread on various websites. One hallmark of Internet memes is the appropriation of a part of broader culture, for instance by giving words and phrases intentional misspellings (such as lolcats) or using incorrect grammar (such as doge). In particular, many memes utilize popular culture (especially in image macros of other media), which sometimes can lead to issues with copyright.

Instant communication on the Internet facilitates word of mouth transmission, resulting in fads and sensations that tend to grow rapidly. An example of such a fad is that of planking (lying down in public places); posting a photo of someone planking online brings attention to the fad and allows it to reach many people in little time. The internet also facilitates the rapid evolution of memes. “Dank” memes have emerged as a new form of image-macros, and many modern memes take on inclusion of surreal, nonsensical, and non-sequitur themes.

Colloquially, the terms meme and Internet meme may refer to pieces of media that are designed in the format of true Internet memes, but which are not themselves intended to spread or evolve, and which have recently become umbrella terms referring to any piece of quickly-consumed comedic or relatable content. What is considered a meme may vary across different communities on the Internet and is subject to change over time: traditionally, memes consisted of a combination of image macros and a concept or catchphrase, but the concept has since become broader and more multi-faceted, evolving to include more elaborate structures such as challenges, GIFs, videos, and viral sensations.

Characteristics

There are two central attributes of Internet memes: creative reproduction of materials and intertextuality. Creative reproduction refers to "parodies, remixes, or mashups," and include notable examples such as "Hitler's Downfall Parodies", and "Nyan Cat", among others. Intertextuality may be demonstrated through memes that combine different cultures; for example, a meme may combine United States politician Mitt Romney's assertion of the phrase "binders full of women" from a 2012 US presidential debate with the Korean pop song "Gangnam style" by overlaying the politician's quote onto a frame from Psy's music video where paper blows around him. The intertextuality in the example gives new meaning to the paper blowing around Psy, the meme indexes intertextual practices in political and cultural discourses of two nations.

The spread of Internet memes has been described as occurring via two mechanisms: mimicry and remix. Remix occurs when the original meme is altered in some way, while mimicry occurs when the meme is recreated in a different fashion to the original. The results in the study of Online Memes, Affinities, and Cultural Production, show that the internet directly adds some longevity in a meme's lifespan.

There is no single format that memes must follow. Photographs of people or animals, especially stock photos, can be turned into memes by superimposing text, such as in Overly Attached Girlfriend. Rage comics are a subcategory of memes which depict a series of human emotions and conclude with a satirical punchline; the sources for these memes often come from webcomics. Other memes are purely viral sensations such as in Keyboard Cat.

Evolution and propagation

Typical format for image macros.

An Internet meme may stay the same or may evolve over time, by chance or through commentary, imitations, parody, or by incorporating news accounts about itself. Internet memes can evolve and spread extremely rapidly, sometimes reaching worldwide popularity within a few days. Consequently, an internet meme can also rapidly become 'unfashionable', losing its humorous qualities to certain audiences, often even most prevalently by its creator(s). Internet memes usually are formed from some social interaction, pop culture reference, or situations people often find themselves in. Their rapid growth and impact has caught the attention of both researchers and industry. Academically, researchers model how they evolve and predict which memes will survive and spread throughout the Web. Commercially, they are used in viral marketing where they are an inexpensive form of mass advertising.

One empirical approach studied meme characteristics and behavior independently from the networks in which they propagated, and reached a set of conclusions concerning successful meme propagation. For example, the study asserted that Internet memes not only compete for viewer attention generally resulting in a shorter life, but also, through user creativity, memes can collaborate with each other and achieve greater survival. Also, paradoxically, an individual meme that experiences a popularity peak significantly higher than its average popularity is not generally expected to survive unless it is unique, whereas a meme with no such popularity peak keeps being used together with other memes and thus has greater survivability.

Multiple opposing studies on media psychology and communication have aimed to characterize and analyze the concept and representations in order to make it accessible for the academic research. Thus, Internet memes can be regarded as a unit of information which replicates via the Internet. This unit can replicate or mutate. This mutation instead of being generational follows more a viral pattern, giving the Internet memes generally a short life. Other theoretical problems with the Internet memes are their behavior, their type of change, and their teleology.

Internet memes have been examined by Dancygier and Vandelanotte in 2017 for aspects of cognitive linguistic and construction grammar. The authors analyzed some selective popular image macros like, Said no one ever, One does not simply, But that's none of my business, and Good Girl Gina to draw attention to the constructionally, multimodality, viewpoint and intersubjectivity of these memes. They further argued that with the combination of text and images, the Internet memes can add to the functioning linguistic construction frame as well as create new linguistic constructions.

Writing for The Washington Post in 2013, Dominic Basulto asserted that with the growth of the Internet and the practices of the marketing and advertising industries, memes have come to transmit fewer snippets of human culture that could survive for centuries as originally envisioned by Dawkins, and instead transmit banality at the expense of big ideas.

History

Origins and early memes

An example of an image macro, a common type of Internet meme in the 2000s.

The word meme was coined by Richard Dawkins in his 1976 book The Selfish Gene as an attempt to explain how ideas replicate, mutate, and evolve (memetics). The concept of the Internet meme was first proposed by Mike Godwin in the June 1993 issue of Wired. In 2013, Dawkins characterized an Internet meme as being a meme deliberately altered by human creativity—distinguished from biological genes and his own pre-Internet concept of a meme, which involved mutation by random change and spreading through accurate replication as in Darwinian selection. Dawkins explained that Internet memes are thus a "hijacking of the original idea", the very idea of a meme having mutated and evolved in this new direction. Furthermore, Internet memes carry an additional property that ordinary memes do not: Internet memes leave a footprint in the media through which they propagate (for example, social networks) that renders them traceable and analyzable.

Internet memes grew as a concept in the mid-1990s. At the time, memes were just short clips that were shared between people in Usenet forums. As the Internet evolved, so did memes. When YouTube was released in 2005, video memes became popular. Around this time, rickrolling became popular and the link to this video was sent around via email or other messaging sites. Video sharing also created memes such as "Turn Down for What" and the "Harlem Shake". As social media websites such as Twitter and Facebook started appearing, it was now easy to share GIFs and image macros to a large audience. Meme generator websites were created to let users create their own memes out of existing templates. Memes during this time could remain popular for a long time, from a few months to a decade, which contrasts with the fast lifespan of modern memes. Over the years, many memes have originated on the 4chan website, which have been described as "the cradle of memes, trolling and alterculture"; major memes popularized by that site include lolcats as well as the pedobear.

Early in the Internet's history, memes were primarily spread via email or Usenet discussion communities. Messageboards and newsgroups were also popular because they allowed a simple method for people to share information or memes with a diverse population of Internet users in a short period. They encourage communication between people, and thus between meme sets, that do not normally come in contact. Furthermore, they actively promote meme-sharing within the messageboard or newsgroup population by asking for feedback, comments, opinions, etc. This format is what gave rise to early Internet memes, like the Hampster Dance. Another factor in the increased meme transmission observed over the Internet is its interactive nature. Print matter, radio, and television are all essentially passive experiences requiring the reader, listener, or viewer to perform all necessary cognitive processing; in contrast, the social nature of the Internet allows phenomena to propagate more readily. Many phenomena are also spread via web search engines, Internet forums, social networking services, social news sites, and video hosting services. Much of the Internet's ability to spread information is assisted from results found through search engines, which can allow users to find memes even with obscure information.

The earlier forms of image based memes include the demotivator, image macro, photoshopped image, LOLCats, advice animal, and comic. The Demotivator image includes a black background with white, capitalized text, often in Times New Roman. The objective of using this format was to parodize inspirational and motivational posters, where the name "demotivator" is derived from. Image macro consists of an image with white Impact font within a black border. The text/context of the meme is at the top and bottom of the image itself. The photoshopped image is closely related to the macro image, but often is created without the use of text, mostly edited with another image. Advice animals contain a photoshopped image of an animal's head on top of a rainbow/color wheel background. It includes the image macro of the top and bottom text with Impact font. LOLCats incorporate the design of image macro and advice animals, but instead of just the cat's head, it is the entire picture unedited with top and bottom text, often with the usage of Internet slang. Comics follow a typical newspaper comic strip format; there are a variety of different ways to create one, as multiple images and texts can be used to create the overall meme. Rage comics such as Trollface were often used to create comic memes.

Modern memes

Modern Internet meme on the subject of Wikipedia and pages breaking when certain characters are removed. Internet memes sometimes represent everyday problems.

Modern memes can generally be described as more visually (rather than contextually) humorous, absurd, niche, diverse and self-referential than earlier forms. As a result, they are less intuitive and are less likely to be fully understood by a wider audience. By the mid-2010s, they began to arise first in the form of "dank" memes, a sub-genre of memes usually involving meme formats in a different way to the image macros that were in large use before. The term "dank", which means "a cold, damp place", was later adapted by marijuana smokers to refer to high-quality marijuana, and then became an ironic term for a type of meme, also becoming synonymous for "cool". This term originally meant a meme that was significantly different from the norm but is now used mainly to differentiate these modern types of memes from other, older types such as image macros. Dank memes can also refer to those which are "exceptionally unique or odd". They have been described as "Internet in-jokes" that are "so played out that they become funny again" or are "so nonsensical that they are hilarious". A highly prevalent meme at the beginning of this era was the 'montage parody'. These were videos which sought to ironically exaggerate the visual effects used by video game content creators; some elements of these memes have carried on for years after their initial popularity.

The formats are usually from popular television shows, movies, or video games and users then add humorous text and images over it. The culture surrounding memes, especially dank memes, grew to the point of the creation of many subcultures surrounding them. For instance, a "meme market", satirizing on the kind of talks and stocks found normally on Wall Street, was created in September 2016. Originally started on Reddit as r/MemeEconomy, people would only jokingly "buy" or "sell" shares in a meme to indicate how popular a meme was thought to be. The market is seen as a way to show how people assign value to commonplace and otherwise valueless things such as memes.

One example of a dank meme is "Who Killed Hannibal", which is made of two frames from a 2013 episode of The Eric Andre Show. The meme features the host Andre shooting his co-host Buress in the first frame and then lamenting that his co-host has been shot in the next, with Andre often depicted blaming someone else for the shot. This was then adapted to other situations, such as baby boomers blaming millennials for problems that they allegedly caused.

Dank memes also stem from interesting real-life images that are shared or remixed many times. So-called "moth" memes (often stylized as "möth") came about after a Reddit user posted a close up picture of a moth that they had found outside their window onto the r/creepy subreddit. The image became popular and began to be used in memes; according to Chris Grinter, a lepidopterist from the California Academy of Sciences, moth memes gained recognition because of the inexplicability surrounding moths' attraction to lamps.

Irony and absurdism

Example of a "deep-fried" meme without any context. Surrealist and nonsensical themes are typical of modern memes

Many modern memes stem from nonsense or otherwise unrelated phrases that are repeated and placed onto other formats. One example of this is "they did surgery on a grape," from a video of a da Vinci Surgical System performing test surgery on a grape. People sharing the post tended to add the same caption to it ("they did surgery on a grape"), and eventually created a satirical image with several layers of captions on it. Memes such as this one continue to propagate as people start to include the phrase in different, otherwise unrelated memes.

The increasing trend towards irony in meme culture has resulted in absurdist memes not unlike postmodern art. Many Internet memes have several layers of meaning built off of other memes, not being understandable unless the viewer has seen all previous memes. "Deep-fried" memes, memes that have been distorted and run through several filters, are often strange to one not familiar with them. An example of these memes is the "E" meme, a picture of Markiplier photoshopped onto Lord Farquaad from the film Shrek, photoshopped into a scene from Mark Zuckerberg's hearing in Congress. "Surreal" memes are based on the idea of increasing layers of irony so that they are not understandable by popular culture or corporations. This strange irony was discussed in the Washington Post article "Why is millennial humor so weird?" to show the disconnect from how millennials and other generations conceive of humor; the article itself also became a meme where people photoshopped examples of deep-fried and surreal memes onto the article to make fun of the point of the article and the abstraction of meme culture.

Short-form video

After the success of the application Vine, a format of memes emerged in the form of short videos and scripted sketches. Vine, in spite of its closure in early 2017, has still retained relevance through uploads of viral vines in compilations onto other sharing social media sites such as Twitter and YouTube. Since Vine's shutdown, the service TikTok has been described as a better version of Vine and many comparisons have been made between the two platforms; also based on the upload of short-form videos, TikTok, however, allows videos and memes up to a minute in length rather than six seconds.

The short-form videos created on sites like Vine and TikTok found use in being posted on other social media sites, such as Twitter, as a form of reacting and responding to other posts. These videos become replicated into other contexts and often become part of Internet culture. An example of a TikTok meme is the cosplay by Nyannyancosplay juxtaposed to the musical track "Mia Khalifa" by iLoveFriday. This meme became known as Hit or Miss. Hit or Miss has been referenced multiple times, including PewDiePie's 2018 Rewind as one of the most influential memes of the year alongside numerous other influential memes of the year. PewDiePie's 2018 rewind video has been viewed over 70 million times and has 8.9 million likes as of April 28, 2020. Hit or Miss has been remixed as well, including by other social media influencers such as Belle Delphine. SirKibbs' YouTube has uploaded a video of Belle Delphine and Kat (Nyannyancosplay) side-by-side comparison and has garnered 2.7 million views as of April 28, 2020.

Marketing

Public relations, advertising, and marketing professionals have embraced Internet memes as a form of viral marketing and guerrilla marketing to create marketing "buzz" for their product or service. The practice of using memes to market products or services is known as memetic marketing. Internet memes are seen as cost-effective, and because they are a (sometimes self-conscious) fad, they are therefore used as a way to create an image of awareness or trendiness. To this end, businesses have taken to attempting two methods of using memes to increase publicity and sales of their company; either creating a meme or attempting to adapt or perpetuate an existing one. Examples of memetic marketing include the FreeCreditReport.com singing ad campaign, the "Nope, Chuck Testa" meme from an advertisement for taxidermist Chuck Testa, Wilford Brimley saying "Diabeetus" from Liberty Medical and the Dumb Ways to Die public announcement ad campaign by Metro Trains Melbourne.

Marketers, for example, use Internet memes to create interest in films that would otherwise not generate positive publicity among critics. The 2006 film Snakes on a Plane generated much publicity via this method. Used in the context of public relations, the term would be more of an advertising buzzword than a proper Internet meme, although there is still an implication that the interest in the content is for purposes of trivia, ephemera, or frivolity rather than straightforward advertising and news.

Brands' use of memes has disadvantages when considering people's perception of a brand. While effective use of a meme can lead to increased sales and attention, seemingly forced, unoriginal, or unfunny usage of memes can negatively impact the brand as a whole. For instance, the fast food company Wendy's began a social media approach in 2017 that heavily featured memes and was initially met with success, resulting in an almost 50% profit growth that year; however, the strategy has also backfired when sharing memes that are controversial or otherwise negatively perceived by consumers.

By context

Politics

As internet memes become a common means of online expression, they become quickly used by those seeking to express political opinions or to actively campaign for (or against) a political entity. In some ways, they can be seen as a modern form of the political cartoon, offering up a way to democratize political commentary.

Elections

Early examples of political memes can be seen from those resulting from the Dean Scream. Another example can be seen from MyDavidCameron.com, a website that allowed users to change the text of a British Conservative election campaign poster featuring David Cameron from the 2010 general election. This website was often used to produce memes that replaced the original slogan with a series of exaggerated claims or sarcastic fake campaign promises along with derision of David Cameron's airbrushed appearance.

Within each subsequent election, and the growing importance of visual communications due to the Internet and social media, memes have become a more important element within political campaigns as fringe communities have shaped broader discourse through the use of Internet memes. For example, Ted Cruz's 2016 Republican presidential bid was damaged by Internet memes that speculated he was the Zodiac Killer.

Another internet meme was created from the 2012 US presidential debate surrounding United States politician Mitt Romney's usage of the phrase "binders full of women". Internet meme creators quickly created "My Binders Full of Women Exploded", referencing the Korean pop song "Gangnam style" by overlaying the politician's quote onto a frame from Psy's music video where paper blows around him. This internet meme specifically indexes the central attribute of intertextuality by blending together pop culture with politics.

There has further been academic research that provides evidence that the use of memes during elections has a role to play in informing the public. In a study of 378 Internet memes posted across Facebook during the 2017 general election, McLoughlin and Southern found memes were a widely shared conduit for basic political information to audiences who often did not seek it out. Indeed, a fifth of all political memes posted during the election referenced a political policy which was part of a political parties mandate, while messages promoting people to vote were shared more than 160,000 times, suggesting memes have a small role to play in increasing voter turnout. Satirical memes that express political opinions are effective in not only informing others but also driving political debate and engagement with politics by offering an easy and even fun way to talk about important issues.

Some political campaigns have begun to explicitly taken advantage of the increasing influence of memes; as part of the 2020 US presidential campaign, Michael Bloomberg sponsored a number of Instagram accounts with over 60 million collective followers to post memes related to the Bloomberg campaign. Similar to criticisms against corporations who use meme marketing, the campaign was faulted for treating meme culture as an advertisement or something that can be bought.

The 2020 Presidential Campaign of Kanye West quickly became a meme, following its announcement on Twitter, with numerous celebrities and influencers endorsing the rapper out of irony. Other personalities began announcing their own satirical presidential campaigns, parodying West.

Social movements

Memes can play a significant role in various forms of activism.

The Occupy Wall Street (OWS) protest movement saw a rise in internet memes after gaining attention on social media. All internet memes that were created and shared during the movement were very important in mediated discussions surrounding the OWS. Typical phrases such as "We Are the 99%" and "This is what democracy looks like", were remixed into memes and subsequently posted in the discussion board of OWS on popular social media sites such as Reddit, Tumblr, and 4chan. Those who actively participated in the movement conversed through these visuals.

Culture

Gender

Internet memes have been used in the context of gender and the LGBT issues on both sides of the issue. For example, the phrase, "I sexually identify as an attack helicopter," is a meme used to mock the concept of non-binary genders. In contrast, memes supporting the LGBT community also exist. Memes about the incel community deal with issues of feminism and toxic masculinity; In this way, they often serve as ways to marginalize or draw attention to social problems depending on the punchline.

Religion

Internet memes have also been used in the context of religion.

Copyright

The eligibility of any memes to get copyright protection depends on the copyright law of the country in which such protection is sought. Some of the most popular formats of memes include cinematographic stills, personal or stock photographs, rage comics, and illustrations meant to be a meme, and the copyright implications differ for each of these different formats. There is precedent both for memes to be in violation of copyright and in other memes having copyrights of their own.

If it is found that the meme has made use of a copyrighted work, such as the movie still or photograph without due permission from the original owner, it would amount to copyright infringement. Rage comics and memes created for the sole purpose of becoming memes would normally be original works of the creator and therefore, the question of infringing other copyright work does not arise. In a cinematographic still, part of the entire end product is taken out of context and presented solely for its face value. The still is generally accompanied by a superimposed text of which conveys a distinctive idea or comment, such as the Boromir meme or "Gru's Plan". This does not mean that all memes made from movie still or photographs are infringing copyright. There are defenses available for such use in various jurisdictions which could exempt the meme from attracting liability for the infringement.

United States

Under United States copyright law, a creation receives copyright protection if it satisfies four conditions under 17 U.S.C. § 102. For a meme to get copyright protection, it would have to satisfy four conditions:

  1. It falls under one of the categories of work which is protected under the law
  2. It is an "expression"
  3. It has a modest amount of creativity
  4. It is "fixed".

Memes can be considered pictorial, graphical or motion picture, and so are subject to copyright law As such, memes are protected under copyright under the same conditions as these mediums, including concepts such as the low threshold of originality for what constitutes creativity (as demonstrated by Feist Publications, Inc., v. Rural Telephone Service Co). Since a meme is essentially a comment, satire, ridicule or expression of an emotion it constitutes the expression of an idea. Memes are contained in the medium of the Internet and so are fixed expressions by 17 U.S.C. § 101.

Fair use

Fair use is a defense under US Copyright Law which protects work that has made using other copyrighted works. The section provides that if a copyrighted work is reproduced "for purposes such as criticism, comment, news reporting, teaching [...], scholarship or research", it would not amount to infringement. Notably, for memes, the use of the term "such as" in the section denotes that the list is not exhaustive but merely illustrative. Furthermore, the factors mentioned in the section are subjective in nature and the weight of each factor varies on a case to case basis.

The four factors are:

  1. The purpose or character of use,
  2. The nature of the copyrighted work,
  3. The amount and substantiality of the portion used, and
  4. Effect on the market.

Many memes are transformative in nature as they have no relation to the original work and the motive behind the communication of the meme is personal, in terms of disseminating humor to the public; such memes, being transformative, would be covered by fair use. However, copying memes that are made for the sole purpose of being memes would not enjoy this protection as there is no transformation—the copying has the same purpose as the original meme which is to communicate humorous or entertaining anecdotes. Purpose and character of use weigh in against memes which have been used for commercial purposes because in those cases, the work has not been created for the communication of humor but for economic gain. For example, Grumpy Cat won $710,001 in a copyright lawsuit against the beverage company Grenade which used the Grumpy Cat image on its roasted coffee line and t-shirts.

The nature of the copyrighted work asks what the differences between the meme and the other material are. This factor applies to many types of memes because the original work is an artistic creation that has been published and thus the latter enjoys protection under copyright which the memes are violating. However, as memes are transformative, this factor does not have much weight.

The amount and substantiality of the portion used tests not only the quantity of the work copied but the quality that is copied as well. Memes copy only a small portion of a complete film, whereas for rage comics and personal photographs, the entire portion has been used to create the meme. Despite this, all categories of memes could fall under fair use because the text that is added to those images adds value, without which it would just be pictures. Moreover, the heart of the work is not affected because the still/picture is taken out of context and portrays something entirely different from what the image originally wanted to depict.

Lastly, the effect on the market offers court analysis on whether the meme would cause harm to the actual market of the original copyright work and also the harm it could cause to the potential market. The target audience for the original work and meme is entirely different as the latter is taken out of the context of the original and created for use and dissemination on social media. Rage comics and memes created for the purpose of being memes are an exception to this because the target audience for both is the same and copied work could infringe on the potential market of the original. Warner Brothers was sued for infringing the Nyan Cat meme by using it its game Scribblenauts.

India

Under Section 2(c) of the Indian Copyright Act, 1957, a meme could be classified as an 'artistic work' which states that an artistic work includes painting, sculpture, drawing (including a diagram, map, chart or plan), an engraving or a photograph, whether or not any such work possesses artistic quality. The section uses the phrase "whether or not possessing artistic quality", the memes that are rage comics or those such as Keyboard Cat would enjoy protection as they are original creations in the form a painting, drawing, photograph or short video clip, despite not having artistic quality. Memes that made from cinematograph still or photographs, the original image in the background for the meme would also be protected as the picture or the still from the series/movie is an 'artistic work'. These memes are a modification of that already existing artistic work with some little amount of creativity and therefore, they would also enjoy copyright protection.

Fair dealing

India follows a fair dealing approach as an exception to copyright infringement under Section 52(1)(a) for the purposes of private or personal use, criticism or review. The analysis requires three steps: the amount and substantiality of dealing, the purpose of copying, and the effect on potential markets.

The amount of sustainability of dealing asks about how much of the original work is used in the meme, or how the meme transforms the original content. A meme makes use to existing copyright work whether it is a cinematograph still, rage comic, personal photograph or a meme made for the purpose of being a meme. However, since a meme is made for comedic purposes, taken out of context of the original work, they are transforming the work and creating a new work.

The purpose of copying factors in the purpose of the meme compared to the purpose of the original work. Under Section 52(1)(a), the purpose is restricted to criticism or review. A meme, as long as it is a parody or a criticism of the original work would be protected under the exception, but once an element of commercialization comes in, they would no longer be exempted and because the purpose no longer falls under the those mentioned in the section . When the Indian comedic group All India Bakchod (AIB) parodied Game of Thrones through a series of memes, the primary purpose was to advertise products of companies that have endorsed the group and thus was not fair dealing.

Memes generally do not have an effect on the potential market for a work. There must be no intention on part of the infringer to compete with the original owner of the work and derive profits from it. Since memes are generally meant for comedic value and have no intention to supplant the market of the original creator, they fall within the ambit of this section.

Memetics

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Memetics

Memetics is the study of information and culture based on an analogy with Darwinian evolution. Proponents describe memetics as an approach to evolutionary models of cultural information transfer. Memetics describes how an idea can propagate successfully, but doesn't necessarily imply a concept is factual. Critics contend the theory is "untested, unsupported or incorrect". It has been labelled as pseudoscience by many scholars, making memetics unable to establish itself as a recognized research program.

The term meme was coined in Richard Dawkins' 1976 book The Selfish Gene, but Dawkins later distanced himself from the resulting field of study. Analogous to a gene, the meme was conceived as a "unit of culture" (an idea, belief, pattern of behavior, etc.) which is "hosted" in the minds of one or more individuals, and which can reproduce itself in the sense of jumping from the mind of one person to the mind of another. Thus what would otherwise be regarded as one individual influencing another to adopt a belief is seen as an idea-replicator reproducing itself in a new host. As with genetics, particularly under a Dawkinsian interpretation, a meme's success may be due to its contribution to the effectiveness of its host.

History

In his book The Selfish Gene (1976), the evolutionary biologist Richard Dawkins used the term meme to describe a unit of human cultural transmission analogous to the gene, arguing that replication also happens in culture, albeit in a different sense. While cultural evolution itself is a much older topic, with a history that dates back at least as far as Darwin's era, Dawkins (1976) proposed that the meme is a unit of information residing in the brain and is the mutating replicator in human cultural evolution. It is a pattern that can influence its surroundings – that is, it has causal agency – and can propagate. This proposal resulted in debate among sociologists, biologists, and scientists of other disciplines. Dawkins himself did not provide a sufficient explanation of how the replication of units of information in the brain controls human behaviour and ultimately culture, and the principal topic of the book was genetics. Dawkins apparently did not intend to present a comprehensive theory of memetics in The Selfish Gene, but rather coined the term meme in a speculative spirit. Accordingly, different researchers came to define the term "unit of information" in different ways.

The evolutionary model of cultural information transfer is based on the concept that units of information, or "memes", have an independent existence, are self-replicating, and are subject to selective evolution through environmental forces. Starting from a proposition put forward in the writings of Richard Dawkins, this model has formed the basis of a new area of study, one that looks at the self-replicating units of culture. It has been proposed that just as memes are analogous to genes, memetics is analogous to genetics.

The modern memetics movement dates from the mid-1980s. A January 1983 "Metamagical Themas" column by Douglas Hofstadter, in Scientific American, was influential – as was his 1985 book of the same name. "Memeticist" was coined as analogous to "geneticist" – originally in The Selfish Gene. Later Arel Lucas suggested that the discipline that studies memes and their connections to human and other carriers of them be known as "memetics" by analogy with "genetics". Dawkins' The Selfish Gene has been a factor in attracting the attention of people of disparate intellectual backgrounds. Another stimulus was the publication in 1991 of Consciousness Explained by Tufts University philosopher Daniel Dennett, which incorporated the meme concept into a theory of the mind. In his 1991 essay "Viruses of the Mind", Richard Dawkins used memetics to explain the phenomenon of religious belief and the various characteristics of organised religions. By then, memetics had also become a theme appearing in fiction (e.g. Neal Stephenson's Snow Crash).

The idea of language as a virus had already been introduced by William S. Burroughs as early as 1962 in his book The Ticket That Exploded, and later in The Electronic Revolution, published in 1970 in The Job.

The foundation of memetics in its full modern incarnation was launched by Douglas Rushkoff's Media Virus: Hidden Agendas in Popular Culture in 1995, and was accelerated with the publication in 1996 of two more books by authors outside the academic mainstream: Virus of the Mind: The New Science of the Meme by former Microsoft executive turned motivational speaker and professional poker-player Richard Brodie, and Thought Contagion: How Belief Spreads Through Society by Aaron Lynch, a mathematician and philosopher who worked for many years as an engineer at Fermilab. Lynch claimed to have conceived his theory totally independently of any contact with academics in the cultural evolutionary sphere, and apparently was not aware of The Selfish Gene until his book was very close to publication.

Around the same time as the publication of the books by Lynch and Brodie the e-journal Journal of Memetics – Evolutionary Models of Information Transmission (published electronically from 1997 to 2005) first appeared. It was first hosted by the Centre for Policy Modelling at Manchester Metropolitan University. The e-journal soon became the central point for publication and debate within the nascent memeticist community. (There had been a short-lived paper-based memetics publication starting in 1990, the Journal of Ideas edited by Elan Moritz.) In 1999, Susan Blackmore, a psychologist at the University of the West of England, published The Meme Machine, which more fully worked out the ideas of Dennett, Lynch, and Brodie and attempted to compare and contrast them with various approaches from the cultural evolutionary mainstream, as well as providing novel, and controversial, memetics-based theories for the evolution of language and the human sense of individual selfhood.

Etymology

The term meme derives from the Ancient Greek μιμητής (mimētḗs), meaning "imitator, pretender". The similar term mneme was used in 1904, by the German evolutionary biologist Richard Semon, best known for his development of the engram theory of memory, in his work Die mnemischen Empfindungen in ihren Beziehungen zu den Originalempfindungen, translated into English in 1921 as The Mneme. Until Daniel Schacter published Forgotten Ideas, Neglected Pioneers: Richard Semon and the Story of Memory in 2000, Semon's work had little influence, though it was quoted extensively in Erwin Schrödinger’s 1956 Tarner LectureMind and Matter”. Richard Dawkins (1976) apparently coined the word meme independently of Semon, writing this:

"'Mimeme' comes from a suitable Greek root, but I want a monosyllable that sounds a bit like 'gene'. I hope my classicist friends will forgive me if I abbreviate mimeme to meme. If it is any consolation, it could alternatively be thought of as being related to 'memory', or to the French word même."

Internalists and externalists

The memetics movement split almost immediately into two. The first group were those who wanted to stick to Dawkins' definition of a meme as "a unit of cultural transmission". Gibron Burchett, another memeticist responsible for helping to research and co-coin the term memetic engineering, along with Leveious Rolando and Larry Lottman, has stated that a meme can be defined, more precisely, as "a unit of cultural information that can be copied, located in the brain". This thinking is more in line with Dawkins' second definition of the meme in his book The Extended Phenotype. The second group wants to redefine memes as observable cultural artifacts and behaviors. However, in contrast to those two positions, Blackmore does not reject either concept of external or internal memes.

These two schools became known as the "internalists" and the "externalists." Prominent internalists included both Lynch and Brodie; the most vocal externalists included Derek Gatherer, a geneticist from Liverpool John Moores University, and William Benzon, a writer on cultural evolution and music. The main rationale for externalism was that internal brain entities are not observable, and memetics cannot advance as a science, especially a quantitative science, unless it moves its emphasis onto the directly quantifiable aspects of culture. Internalists countered with various arguments: that brain states will eventually be directly observable with advanced technology, that most cultural anthropologists agree that culture is about beliefs and not artifacts, or that artifacts cannot be replicators in the same sense as mental entities (or DNA) are replicators. The debate became so heated that a 1998 Symposium on Memetics, organised as part of the 15th International Conference on Cybernetics, passed a motion calling for an end to definitional debates. McNamara demonstrated in 2011 that functional connectivity profiling using neuroimaging tools enables the observation of the processing of internal memes, "i-memes", in response to external "e-memes".

An advanced statement of the internalist school came in 2002 with the publication of The Electric Meme, by Robert Aunger, an anthropologist from the University of Cambridge. Aunger also organised a conference in Cambridge in 1999, at which prominent sociologists and anthropologists were able to give their assessment of the progress made in memetics to that date. This resulted in the publication of Darwinizing Culture: The Status of Memetics as a Science, edited by Aunger and with a foreword by Dennett, in 2001.

Decline

In 2005, the Journal of Memetics ceased publication and published a set of articles on the future of memetics. The website states that although "there was to be a relaunch... after several years nothing has happened". Susan Blackmore has left the University of the West of England to become a freelance science-writer and now concentrates more on the field of consciousness and cognitive science. Derek Gatherer moved to work as a computer programmer in the pharmaceutical industry, although he still occasionally publishes on memetics-related matters. Richard Brodie is now climbing the world professional poker rankings. Aaron Lynch disowned the memetics community and the words "meme" and "memetics" (without disowning the ideas in his book), adopting the self-description "thought contagionist". He died in 2005.

Susan Blackmore (2002) re-stated the definition of meme as: whatever is copied from one person to another person, whether habits, skills, songs, stories, or any other kind of information. Further she said that memes, like genes, are replicators in the sense as defined by Dawkins. That is, they are information that is copied. Memes are copied by imitation, teaching and other methods. The copies are not perfect: memes are copied with variation; moreover, they compete for space in our memories and for the chance to be copied again. Only some of the variants can survive. The combination of these three elements (copies; variation; competition for survival) forms precisely the condition for Darwinian evolution, and so memes (and hence human cultures) evolve. Large groups of memes that are copied and passed on together are called co-adapted meme complexes, or memeplexes. In Blackmore's definition, the way that a meme replicates is through imitation. This requires brain capacity to generally imitate a model or selectively imitate the model. Since the process of social learning varies from one person to another, the imitation process cannot be said to be completely imitated. The sameness of an idea may be expressed with different memes supporting it. This is to say that the mutation rate in memetic evolution is extremely high, and mutations are even possible within each and every iteration of the imitation process. It becomes very interesting when we see that a social system composed of a complex network of microinteractions exists, but at the macro level an order emerges to create culture.

Critics of memetics

Critics contend that some proponents' assertions are "untested, unsupported or incorrect." Luis Benitez-Bribiesca, a critic of memetics, calls it "a pseudoscientific dogma" and "a dangerous idea that poses a threat to the serious study of consciousness and cultural evolution" among other things. As factual criticism, he refers to the lack of a code script for memes, as the DNA is for genes, and to the fact that the meme mutation mechanism (i.e., an idea going from one brain to another) is too unstable (low replication accuracy and high mutation rate), which would render the evolutionary process chaotic. This, however, has been demonstrated (e.g. by Daniel C. Dennett, in Darwin's Dangerous Idea) to not be the case, in fact, due to the existence of self-regulating correction mechanisms (vaguely resembling those of gene transcription) enabled by the redundancy and other properties of most meme expression languages, which do stabilize information transfer. (E.g. spiritual narratives—including music and dance forms—can survive in full detail across any number of generations even in cultures with oral tradition only.) Memes for which stable copying methods are available will inevitably get selected for survival more often than those which can only have unstable mutations, therefore going extinct.

Another criticism comes from semiotics, (e.g., Deacon, Kull) stating that the concept of meme is a primitivized concept of Sign. Meme is thus described in memetics as a sign without its triadic nature. In other words, meme is a degenerate sign, which includes only its ability of being copied. Accordingly, in the broadest sense, the objects of copying are memes, whereas the objects of translation and interpretation are signs.

Mary Midgley criticizes memetics for at least two reasons:

"One, culture is not best understood by examining its smallest parts, as culture is pattern-like, comparable to an ocean current. Many more factors, historical and others, should be taken into account than only whatever particle culture is built from. Two, if memes are not thoughts (and thus not cognitive phenomena), as Daniel C. Dennett insists in "Darwin's Dangerous Idea", then their ontological status is open to question, and memeticists (who are also reductionists) may be challenged whether memes even exist. Questions can extend to whether the idea of "meme" is itself a meme or is a true concept. Fundamentally, memetics is an attempt to produce knowledge through organic metaphors, which as such is a questionable research approach, as the application of metaphors has the effect of hiding that which does not fit within the realm of the metaphor. Rather than study actual reality, without preconceptions, memetics, as so many of the socio-biological explanations of society, believe that saying that the apple is like an orange is a valid analysis of the apple."

Henry Jenkins, Joshua Green, and Sam Ford, in their book Spreadable Media (2013), criticize Dawkins' idea of the meme, writing that "while the idea of the meme is a compelling one, it may not adequately account for how content circulates through participatory culture." The three authors also criticize other interpretations of memetics, especially those which describe memes as "self-replicating", because they ignore the fact that "culture is a human product and replicates through human agency."

Like other critics, Maria Kronfeldner has criticized memetics for being based on an allegedly inaccurate analogy with the gene; alternately, she claims it is "heuristically trivial", being a mere redescription of what is already known without offering any useful novelty.

New developments

Alternative definitions

  • Dawkins, in A Devil's Chaplain, expanded his definition of meme by saying there are actually two different types of memetic processes (controversial and informative). The first is a type of cultural idea, action, or expression, which does have high variance; for instance, a student of his who had inherited some of the mannerisms of Wittgenstein. The second type is a self-correcting meme that is highly resistant to mutation. As an example of this, he gives origami patterns taught to elementary students– the meme is either passed on in the exact sequence of instructions, or (in the case of a forgetful child) terminates. The self-correcting meme tends to not evolve, and to experience profound mutations in the rare event that it does.
  • Another definition, given by Hokky Situngkir, tried to offer a more rigorous formalism for the meme, memeplexes, and the deme, seeing the meme as a cultural unit in a cultural complex system. It is based on the Darwinian genetic algorithm with some modifications to account for the different patterns of evolution seen in genes and memes. In the method of memetics as the way to see culture as a complex adaptive system, he describes a way to see memetics as an alternative methodology of cultural evolution.
  • DiCarlo (2010) developed the definition of meme further to include the idea of 'memetic equilibrium', which describe a culturally compatible state with biological equilibrium. In "How Problem Solving and Neurotransmission in the Upper Paleolithic led to The Emergence and Maintenance of Memetic Equilibrium in Contemporary World Religions", DiCarlo argues that as human consciousness evolved and developed, so too did our ancestors' capacity to consider and attempt to solve environmental problems in more conceptually sophisticated ways. When a satisfactory solution is found, the feeling of environmental stability, or memetic equilibrium, is achieved. The relationship between a gradually emerging conscious awareness and sophisticated languages in which to formulate representations combined with the desire to maintain biological equilibrium, generated the necessity for equilibrium to fill in conceptual gaps in terms of understanding three very important aspects in the Upper Paleolithic: causality, morality, and mortality. The desire to explain phenomena in relation to maintaining survival and reproductive stasis, generated a normative stance in the minds of our ancestors—Survival/Reproductive Value (or S-R Value).

Memetic analysis

  • The possibility of quantitative analysis of memes using neuroimaging tools and the suggestion that such studies have already been done was given by McNamara (2011). This author proposes hyperscanning (concurrent scanning of two communicating individuals in two separate MRI machines) as a key tool in the future for investigating memetics.
  • Velikovsky (2013) proposed the "holon" as the structure of the meme, synthesizing the major theories on memes of Richard Dawkins, Mihaly Csikszentmihalyi, E. O. Wilson, Frederick Turner (poet) and Arthur Koestler.
  • Proponents of memetics as described in the Journal of Memetics (out of print since 2005) believe that 'memetics' has the potential to be an important and promising analysis of culture using the framework of evolutionary concepts.
  • Keith Henson in Memetics and the Modular-Mind (Analog Aug. 1987) makes the case that memetics needs to incorporate evolutionary psychology to understand the psychological traits of a meme's host.

Applications

Research methodologies that apply memetics go by many names: Viral marketing, cultural evolution, the history of ideas, social analytics, and more. Many of these applications do not make reference to the literature on memes directly but are built upon the evolutionary lens of idea propagation that treats semantic units of culture as self-replicating and mutating patterns of information that are assumed to be relevant for scientific study. For example, the field of public relations is filled with attempts to introduce new ideas and alter social discourse. One means of doing this is to design a meme and deploy it through various media channels. One historic example of applied memetics is the PR campaign conducted in 1991 as part of the build-up to the first Gulf War in the United States.

The application of memetics to a difficult complex social system problem, environmental sustainability, has recently been attempted at thwink.org Using meme types and memetic infection in several stock and flow simulation models, Jack Harich has demonstrated several interesting phenomena that are best, and perhaps only, explained by memes. One model, The Dueling Loops of the Political Powerplace, argues that the fundamental reason corruption is the norm in politics is due to an inherent structural advantage of one feedback loop pitted against another. Another model, The Memetic Evolution of Solutions to Difficult Problems, uses memes, the evolutionary algorithm, and the scientific method to show how complex solutions evolve over time and how that process can be improved. The insights gained from these models are being used to engineer memetic solution elements to the sustainability problem.

Another application of memetics in the sustainability space is the crowdfunded Climate Meme Project conducted by Joe Brewer and Balazs Laszlo Karafiath in the spring of 2013. This study was based on a collection of 1000 unique text-based expressions gathered from Twitter, Facebook, and structured interviews with climate activists. The major finding was that the global warming meme is not effective at spreading because it causes emotional duress in the minds of people who learn about it. Five central tensions were revealed in the discourse about [climate change], each of which represents a resonance point through which dialogue can be engaged. The tensions were Harmony/Disharmony (whether or not humans are part of the natural world), Survival/Extinction (envisioning the future as either apocalyptic collapse of civilization or total extinction of the human race), Cooperation/Conflict (regarding whether or not humanity can come together to solve global problems), Momentum/Hesitation (about whether or not we are making progress at the collective scale to address climate change), and Elitism/Heretic (a general sentiment that each side of the debate considers the experts of its opposition to be untrustworthy).

Ben Cullen, in his book Contagious Ideas, brought the idea of the meme into the discipline of archaeology. He coined the term "Cultural Virus Theory", and used it to try to anchor archaeological theory in a neo-Darwinian paradigm. Archaeological memetics could assist the application of the meme concept to material culture in particular.

Francis Heylighen of the Center Leo Apostel for Interdisciplinary Studies has postulated what he calls "memetic selection criteria". These criteria opened the way to a specialized field of applied memetics to find out if these selection criteria could stand the test of quantitative analyses. In 2003 Klaas Chielens carried out these tests in a Masters thesis project on the testability of the selection criteria.

In Selfish Sounds and Linguistic Evolution, Austrian linguist Nikolaus Ritt has attempted to operationalise memetic concepts and use them for the explanation of long term sound changes and change conspiracies in early English. It is argued that a generalised Darwinian framework for handling cultural change can provide explanations where established, speaker centred approaches fail to do so. The book makes comparatively concrete suggestions about the possible material structure of memes, and provides two empirically rich case studies.

Australian academic S.J. Whitty has argued that project management is a memeplex with the language and stories of its practitioners at its core. This radical approach sees a project and its management as an illusion; a human construct about a collection of feelings, expectations, and sensations, which are created, fashioned, and labeled by the human brain. Whitty's approach requires project managers to consider that the reasons for using project management are not consciously driven to maximize profit, and are encouraged to consider project management as naturally occurring, self-serving, evolving process which shapes organizations for its own purpose.

Swedish political scientist Mikael Sandberg argues against "Lamarckian" interpretations of institutional and technological evolution and studies creative innovation of information technologies in governmental and private organizations in Sweden in the 1990s from a memetic perspective. Comparing the effects of active ("Lamarckian") IT strategy versus user–producer interactivity (Darwinian co-evolution), evidence from Swedish organizations shows that co-evolutionary interactivity is almost four times as strong a factor behind IT creativity as the "Lamarckian" IT strategy.

Terminology

  • Memeplex – (an abbreviation of meme-complex) is a collection or grouping of memes that have evolved into a mutually supportive or symbiotic relationship. Simply put, a meme-complex is a set of ideas that reinforce each other. Meme-complexes are roughly analogous to the symbiotic collection of individual genes that make up the genetic codes of biological organisms. An example of a memeplex would be a religion.
  • Meme pool – a population of interbreeding memes.
  • Memetic engineering – The process of deliberately creating memes, using engineering principles.
  • Memetic algorithms – an approach to evolutionary computation that attempts to emulate cultural evolution in order to solve optimization problems.
  • Memotype – is the actual information-content of a meme.
  • Memeoid – a neologism for people who have been taken over by a meme to the extent that their own survival becomes inconsequential. Examples include kamikazes, suicide bombers and cult members who commit mass suicide. The term was apparently coined by H. Keith Henson in "Memes, L5 and the Religion of the Space Colonies," L5 News, September 1985 pp. 5–8, and referenced in the expanded second edition of Richard Dawkins' book The Selfish Gene (p. 330). But in the strict sense all people are essentially memeoid, since no distinction can be made if one uses language, or memes use their host. In The Electronic Revolution William S. Burroughs writes: "the word has not been recognised as a virus because it has achieved a state of stable symbiosis with the host."
  • Memetic equilibrium – the cultural equivalent of species biological equilibrium. It is that which humans strive for in terms of personal value with respect to cultural artefacts and ideas. The term was coined by Christopher diCarlo.
  • Metamemetic thinking - coined by Diego Fontanive, is the thinking skill & cognitive training capable of making individuals acknowledge illogical memes.
  • Eumemics - the belief and practice of deliberately improving the quality of the meme pool.
  • Memocide - intentional action to eradicate a meme or memeplex from the population, either by killing its carriers or by censorship.

Entropy (classical thermodynamics)

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Entropy_(classical_thermodynamics) ...