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... Because discourse is closely linked to power struggles and strategies for legitimizing oppression (Bourdieu, 1991;Fairclough, 1992), discursive violence can take different forms, ranging from explicit and identifiable forms like hate speech and aggression to less explicit forms such as stereotyping, dehumanization, and marginalization (Wodak, 2015). In this context, digital technologies and social media platforms have had a profound impact on how this type of violence circulates, influencing how society perceives, shares, and legitimizes discourses and how these shapes and influences collective behavior (Lovink, 2012). As these digital technologies shape language use through affordances and cultural contexts, they also shape discourse (Herring, 2004). ...
... The effects of this interaction that produces digital discourse are significant, influencing production, perception, and legitimation of ideas. Digital technologies facilitate the rapid circulation of information and algorithmic organization, shaping public opinion and the dynamics of digital public spheres and public discourses (Lovink, 2012). They also influence another crucial operation, legitimation, through which discourse is validated by a group or society (van Dijk, 2008). ...
This piece focuses on systematizing and exploring key issues for the study of how digitalization has impacted the concept, structure, and effects of discursive violence. By delving into the interplay between language, power struggles, and societal legitimization, the proposed discussion centers on the challenges posed by the digitalization of discourse, particularly within the context of inequalities. The examination of this specific issue is crucial for establishing a foundation for future research and interventions aimed at fostering healthier online communication.
... A használattal kapcsolatban a "kényszer" szó is felmerül (Gorbatov et al. 2018), hiszen a személyesmárkatevékenység folyamatosan megköveteli a márkaépítőtől, hogy tudatosan dolgozzon énjén és annak promotálásán, és "állandóan bekapcsolt" állapotban legyen abból a célból, hogy hasznosítsa személyiségét, életstílusát, márkázott tartalmat állítson elő, és a konzisztens énreprezentáció és a közönség folytonos lekötelezése által valamilyen előnyhöz jusson a jövőben (Duffy & Pooley 2017). A közösségi médiát a személyes márkázás céljából használók számára tehát folyamatos kihívást jelent az, hogy milyen információkat osszanak meg magukról (Labrecque et al. 2011), miként védjék meg magukat a kíbertér határtalan világában attól, hogy a megosztott információk olyanhoz is eljussanak, akivel nem tervezték megosztani (Marwick & Boyd 2011), hogyan őrizzék meg magukat a "túlzott megosztás" jelenségétől (Suler 2002, Shepherd 2005, Geert 2011, Labrecque et al. 2011) és a "gátlástalanság" effektustól (Suler 2004, Ridley 2012, tehát attól a jelenségtől, hogy olyat is megosszanak magukról az online tér interakcióinak személytelenségében, amit szemtől szemben nem tennének. Mindemellett az az igény is felmerül, hogy a felhasználók időről időre távol maradjanak az online tértől, mert a folytonos interakciós kényszer kimerültséget okoz számukra (Bossio & Holton 2018). ...
... Stratégiai szempontból mindez abban is megnyilvánul, hogy a megkérdezett művészek kizárólag szakmai vagy esetenként olyan kulturális vagy társadalmi szempontból fontos tartalmakat osztanak meg, amelyek szervesen kapcsolódnak munkásságukhoz, gazdagítják az alkotókkal kapcsolatos asszociációkat, és pontosítják, finomra hangolják a róluk kialakult képet. Mind a négy alkotó esetében egyértelmű, hogy a "túlzott megosztás" jelensége (Suler 2002, Shepherd 2005, Geert, 2011, Labrecque et al. 2011, Ridley 2012) és a "gátlástalanság" effektus (Suler 2004) egyáltalán nem merül fel. A megkérdezettek számára az egyik leggyakrabban felmerülő kihívás éppen az, hogy a trendeknek megfelelő mennyiséget és kellően rendszeresen posztoljanak, és hogy az interakciók digitalizálódása ellenére megfelelő mennyiségű személyesen adott visszajelzéshez jussanak. ...
... We have become objects of bureaucracy, outsourcing and distribution in a workforce that is little more than serial components in a merciless machine. It has been stated by a number of authors that social media and digital platforms constitute the automation of social relations (Fuchs 2014;van Dijck 2013;Steyerl 2017;Lovink 2011). Geert Lovink (2011) claims that the 'social' itself has latterly become associated with amorality and individual interest (6). ...
... It has been stated by a number of authors that social media and digital platforms constitute the automation of social relations (Fuchs 2014;van Dijck 2013;Steyerl 2017;Lovink 2011). Geert Lovink (2011) claims that the 'social' itself has latterly become associated with amorality and individual interest (6). Attempting to find the 'social' in social media, he questions whether the term has been emptied of its former value by automated structures that entice us with their focus on individual utility. ...
The ongoing romantic dream of power without resistance in an age of correlational logic. 'Databergs' and databrokers in a novel landscape of dark, redundant and obsolete data.
... Online activism through platforms such as Twitter and Facebook has become central to recent disability activism in response to austerity (see Pearson and Trevisan, 2015). Terms such as 'slacktivism', 'clicktivism' and 'armchair activism' (Gremigini, 2016;Lovink, 2011) have widely circulated over the past ten years, often trivialising and mocking the online actions of individuals such as Anne, engaged in what is deemed as 'lazy' forms of activism through, for example, the posting and sharing of issues on social media from their homes. These practices are often criticised and undermined, seen as acts which make individuals feel good about themselves, rather than bringing about any change (Gremigini, 2016;Lovink, 2011). ...
... Terms such as 'slacktivism', 'clicktivism' and 'armchair activism' (Gremigini, 2016;Lovink, 2011) have widely circulated over the past ten years, often trivialising and mocking the online actions of individuals such as Anne, engaged in what is deemed as 'lazy' forms of activism through, for example, the posting and sharing of issues on social media from their homes. These practices are often criticised and undermined, seen as acts which make individuals feel good about themselves, rather than bringing about any change (Gremigini, 2016;Lovink, 2011). Participants, however, disagreed with these popular criticisms of online activism, noting how they were underpinned by ableist assumptions, that to be at home, not moving but rather doing things online, could not be deemed as activism or bringing about change. ...
With the onset of austerity, disabled people in the United Kingdom have faced a sustained period of financial cuts, including cuts to personal income, social care and advocacy organisations. Many individuals have found themselves in increasingly precarious situations, having to rely increasingly on non-statutory, more informal structures of care. Disabled people, however, have not accepted these changes in silence but have often been vocal in their opposition to these cuts. Opposition and resistance can be seen through increased lobbying, the establishing of disability anti-austerity protest groups and the emergence of numerous online campaigns. Austerity has been accompanied by a recent growth in disability activism, as individuals find ways of resisting and coping under increasingly difficult conditions. To date, there has been very limited documentation or analysis of the political struggles of disability activists during a time of austerity. Through adopting a qualitative approach, this study examines the lives of those involved in disability activism, and the places in which their activism is enacted. The findings are drawn from 27 biographical interviews and participant observation at 13 disability activist events. Rather than being a representative study, this research seeks to provide a deep and nuanced insight into the lives of a small number of disabled people who are engaging in activism in response to austerity. It is hoped that this thesis will serve as a form of activism in itself, as a space in which stories can be both shared and heard and used as a possible resource for future generations.
... His work demonstrates how the Internet changes media production and consumption patterns. • Geert Lovink: Lovink's critical theories [5], as presented in works like Networks Without a Cause, discuss the impacts of social media and issues such as information overload brought by the Internet According to the Oxford English Dictionary, the word "abstract" as a verb has two meanings: 1. To extract or remove (something), 2. To make a written summary of (an article or book). ...
This paper explores the phenomenon of Internet abstraction culture that has emerged in the context of China's rapidly developing digital technologies and platforms. This cultural movement has not only reshaped consumer behavior, but also profoundly affected the market structure, affecting multiple fields such as content creation, advertising promotion, and tourism. Drawing on the theoretical frameworks of scholars such as Manuel Castells, Yochai Benkler, Henry Jenkins, and Geert Lovink, and combining it with a detailed analysis of China's Internet development history, this paper analyzes the formation process and evolution trajectory of Internet abstract culture in China, as well as its profound impact on the economy and society. In addition, this paper highlights the key role of digital platforms such as Douyin, Kuaishou, and Bilibili in promoting Internet abstraction culture and giving birth to new economic models. At the same time, this paper explores the challenges and opportunities brought about by this cultural phenomenon, and provides valuable suggestions for future research and policy making, aiming to more effectively respond to the cultural and economic transformation driven by Internet abstraction culture.
... Additionally, it was discovered that 39 percent of respondents possess over 900 friends on their social network accounts. The previous number of pals was significantly smaller (15)(16)(17)(18)(19)(20) illustrates that 32 percent of respondents take selfies 1-3 times daily, 22 percent take selfies 4-10 times daily, and 46 percent take selfies more than 10 times daily. The act of taking selfies and disseminating them on social networking platforms such as Instagram, Facebook, Tumblr, and Snapchat signifies selfexpression. ...
The modern society is distinguished by the development of new technologies in the international society; most crucially, the internet and social media that is reachable for a great audience. Information technologies and modern communication have let people immediately distribute the knowledge. Through the communication technologies including several kinds of mass media devices including electronic media, print media, and the internet, millions of people from practically everywhere in the globe are linked to each other. Particularly for the young people, social media dominates people's life in modern society. Among the children, sites like Facebook, Twitter, Instagram, and WhatsApp are rather familiar. Young people are developing a subculture among social networking sites thanks to their fast espousal. It is altering the way young people form opinions, meet, express and share ideas, create their life paths. Based on original data sources, the current study aims to examine how social media might help to produce a new young subculture in Kumaun city.
... It recurs every season in which new media proliferate. More recently, in the age of social media, Baudrillard became a direct reference for scholars analyzing the process of saturation and multiplication of layers in the daily experience (Hodkinson 2016), and also the process as colonization of real time determining a sort of temporal implosion (Lovink 2012). ...
... Activists use media for their struggle that were produced by the very same enemy that they fight, corporate capitalism. It is the same media used for surveillance, control and for counteraction (Couldry and Curran, 2003: 8;Lovink, 2011). However, as Barassi (2015: 2) showed in her study on web activism, at least some political activists are very well aware of the fact that they are part of the capitalist system, and view this as enabling them to criticise 'capitalism from within' . ...
Different world views and ontologies require different technologies to deal with environmental issues. Land reclamation plans in Bali’s south, meant to open up new space for tourist development, triggered strong but varied responses in the Balinese population, from rejection to enthusiasm. All actors claim to aim towards a prosperous Bali, and at the protection of a degrading environment, but notions of prosperity and protections and the means and technologies used differ tremendously which leads to ethical conflicts. This paper identifies three actor groups based on the technologies they use to mediate relationships in the ecologies they inhabit. Drawing on modern interventionist technology and development and implied universal moralities, scientists aim to manage environment and normalize ecologies for economic benefits or environmental protection. In contrast, religious Balinese actors, for whom environments are dwelling places of spirits and gods, make use of their bodies as means of mediation to communicate with the non-human and restore the balance between environment, humans and god. A third kind of technology used in the reclamation case is a broad mix of media, from traditional theatre to new social media, that are meant to mediate between locally rooted ontologies and global activism, communicate resistance to a broad public, and thus save a (sacred) environment and Bali. In the Bali case, technologies appear ambivalent as they contain contradictory forces and their relationship with the environment is highly complex, which makes consequences quite unpredictable and ethics quite diverse.
... Por su parte, el italiano Franco Berardi Bifo (2015) combinó teoría crítica y psicoanálisis para analizar los trastornos individuales y sociales que provocan las tecnologías al colisionar con los ritmos más lentos de la cultura, la cognición o la naturaleza. Otros pensadores de la comunicación, como Todd Gitlin (2005), Theodor Roszak (1988) o Geert Lovink (2012), alla-naron el camino para pensar la velocidad en un momento en el que la teoría dominante andaba mucho más preocupada por la globalización o el intercambio y dominación entre culturas y flujos económicos. ...
A una década de las primeras investigaciones, este artículo plantea un balance crítico de los hallazgos y debilidades del campo de estudios que aborda la relación entre comunicación y velocidad/lentitud, compuesto, entre otras subáreas, por: el periodismo reposado (slow journalism), la desconexión digital (media disconnection) y los medios lentos (slow media). El trabajo reconstruye el papel que ha tenido la reflexión sobre esta temática en los estudios de comunicación y detecta un conjunto de énfasis en la literatura que le restan potencial crítico, en especial su sesgo individualista y su descuido de los determinantes estructurales y de las interacciones entre tecnologías, socialidad y medioambiente. Partiendo de una revisión crítica de las principales monografías, ensayos y análisis empíricos publicados hasta la fecha (2010-2023), se localiza un conjunto de discusiones emergentes y se apuesta por reconducir el campo reforzando los ideales de transformación ecosocial que lo guiaron en sus inicios.
... The dominant position of platforms including Facebook, Google and YouTube in the Western world have led some to question the opportunities afforded by participatory sites to enable democratic debate. Commentators have highlighted the role of such platforms in the surveillance of users-either in the interests of capitalism (Lovink 2012) or autocratic regimes (Morozov 2011). Wikipedia has, however, remained largely unsullied in such debates. ...
In the past fifteen years of the site’s existence, Wikipedia research has evolved through three main phases. From Wikipedia’s early years in which the site and its volunteer-driven structure were considered an anomaly, researchers have gone on to ask whether Wikipedia works, how it works, and for whom it works. Although there are some forays exploring Wikipedia as a critical element of global representational infrastructure, much more needs to be done to understand the ways in which knowledge identities and representative forces are being reconfigured globally by networked digital platforms like Wikipedia. Ethnography, with its focus on multiplicity, flexibility and on highlighting those in the shadow of dominant hegemonic forces offers a significant opportunity to propel research into a new phase in which the edges of Wikipedia’s network are highlighted. By following people and facts through (and beyond) Wikipedia’s socio-technical system and exploring both the subject and object of Wikipedia’s representations, researchers may begin to explore the lacunae, the dark corners of Wikipedia’s rapidly expanding network that includes not only those who edit Wikipedia but those who have a political stake in its representations.
... The influence of social media on the construction of a collective image of architecture While user-generated content on broadcast media can contribute to the construction of a collective image framework that shapes people's perceptions and behaviors towards architecture and urban spaces (Mahmoudi Farahani, Motamed and Ghadirinia, 2018), it is important to recognize that this content can be fragmented, biased or incomplete. As a result, participation in digital communication creates a new form of subjectivity (Lovink, 2011). ...
Images of architecture spread quickly on visual social networks that gain interest to disseminate and communicate architecture. For this reason, it is a must to diagnose the social construction of the image of architecture, to explore the restrictions and publication formats of the platform, to identify the reaction and dissemination habits in relation to the visual features of photography and to delve into the possibilities and the risks introduced by artificial intelligence systems. The research method follows a cognitive association approach through various graphic case studies on Instagram. The exploratory design to approach the role of the image to communicate architecture in visual social media arises from the concept of the fragment and the biased vision, a division required due to the nature of related image suggestions as a browsing method on Instagram. The findings identify opportunities and action strategies to complement the contents that build the collective image of architecture adapted to the logic of the new scenario.
... It is of utmost importance to understand space. However, it is not that simple -the novelty of our situation posits a need for creativity and concept creation (Lovink, 2011). Deleuze and Guattari (1994) elaborately explore the process of philosophy, by stating that the main job of it is creating concepts. ...
The spatiality of the Internet is a complex phenomenon presupposing a wide range of ideas: that there are different environments which can be characterized, that there are subjects moving within them, that these spaces are being employed for certain ends by their users, and much more. However, various spatial descriptions of the Internet most of the time observe it as a part of a larger spatial architecture, not as a spatial architecture itself. This paper employs radical concept creation machinery conceptualized by Gilles Deleuze and Félix Guattari in What Is Philosophy? (first published in 1991), principles of paralogistic thinking proposed by Jean-François Lyotard and divergent thinking methods, finally arriving at a new conceptualization of the Internet space as the meteorological pressure system. This is an invitation to see the Internet and movements occurring within it from a new perspective: where temperatures rise and drop, winds blow and dissipate, fogs come and go; where limits of spatial characteristics are forming different climates; where each part affects the whole, and can potentially bring out various chain reactions. Such a conceptual system opens up the possibility to see the Internet as a coherent spatial structure, filled with becomings and intricate relationships.
... Twitter substituted the mass media but in turn imposed its own constraints on visibility accruing from its socio-technical affordances, its attention economy (Lovink, 2011) and its regime of accelerated time (Kaun, 2015). One interviewee evocatively described her experience with embracing Twitter to communicate about Gezi: ...
... However, they often are aware of the reasons why people follow them, and they also check to see if people have liked every new post that they share (van Driel and Dumitrica, 2020). Yet, the capacity for sharing and virality ultimately translates into a potentially unlimited audience for material shared online (Lovink, 2013;Senft and Baym, 2015). However, there is a limited understanding of what the influencer identity is; how the identity is constructed, translated, and presented to the real and imagined audience. ...
Instagram has become a contemporary platform for presenting our digital identity. In this study, the Instagram influencer phenomenon is investigated from an identity, self-presentation, and impression management perspective. By focusing on the language of Instagram that enables this identity, its navigation and manifestations are explored. In-depth interviews were conducted with 8 fashion, beauty and lifestyle influencers, and the obtained data was analysed through the approach of discourse analysis, rooted in discursive psychology. Prominent discourses include a critical discussion on the ideas of aesthetic influencer identity, ‘handle names’, ‘follower’s gaze’, ‘stories’, ‘posts’, and ‘filters’. The findings provide an exploratory and critical perspective on the ways in which Instagram is creating and shaping identities. By offering an understanding of the facets of the influencer identity, this pioneering study highlights the different negotiations, conflicts, and resolutions in the performance of this identity.
... The digital or virtual world is increasingly real and can penetrate and map real-life and social relationships (Lovink, 2011). Then, Baratunder Thurston (as cited in Sanders, 2015), a well-known journalist from the United States, argued in the Columbia Journalism Review in 2013 that many young people connected to global technology and culture will save and revive the American Dream. ...
This study aims to analyze the journalism and digital media practice that resulted in the digital fetishism trend in Indonesian millennial journalists before and during the COVID-19 pandemic. This research adopts the qualitative approach by a case study with in-depth interviews with eight journalists from reputable print and online media and participatory observations which focus on eight journalists’ social media accounts. This research finds that digital media has become a part that cannot be separated from millennial journalists. Dependence on digital media forms a digital fetishism. This research shows that millennial journalists remain disadvantaged and tend to be exploited. Journalists also have the status of digital labor. Digital fetishism has become an ideology and identity which shackles millennial journalists. This study suggests that many opportunities can still be developed by gaining a sustainable future by prioritizing innovation, professionalism, independence, and inclusion.
... The future ideology of a global, digitally networked "village" is a central element of Google's narrative. It is substantiated by a consistent rhetoric of customization and the democratic potential of the Web 2.0 (Crutcher and Zook 2009) and has already been unmasked as, for example, "surveillance capitalism" (Zuboff 2019) or "networks without cause" (Lovink 2011). ...
... According to the earliest definition of Web 2.0 given by O'Reilly, Web 2.0 is "the network as platform" spanning all connected devices [1], which later systematically analysed by Manual Castells in the theory of "network society" to illustrate the evolution of the economy, politics, culture, and all other sectors of society, as well as journalism and other NGOs [2]. Moreover, Lovink concluded three distinguished features of networked media platforms: easy to use, facilitates sociality, and provides users with free publishing and production platforms that allow users to upload content in any form, be it pictures, videos, or videos or text [3]. This means social media is usercentred since low professional skills are required for publishing. ...
... I want to argue, however, that the significance of digital reputation in digital lives has been formed alongside specific technocultural transformations such as the transition to a user-generated web in the early 2000s. Built around online participation, self-representation, and the data-driven business models of platforms such as Facebook, this technocultural formation meant the end of the pre-commercial internet (Lovink, 2012). Popularity on the internet became seen as the foundation for a career, a gateway to digital entrepreneurship for the aspiring young (McGuigan, 2014). ...
This article relies on a visual ethnography with young people between 13 and 20 years old. Young people were asked to make visual collages of fictional social media accounts, which are used in this article to analyse the signification of “good” and “bad” reputation in digital youth culture. It explores how reputation is performed visually and aesthetically in digital youth culture. The aim is to contribute to the critical study of digital reputation, it formulates an ethical critique on how the signification of digital reputation has formed alongside values and beliefs that support the growth of platform capitalism, rather than assigning a reputational value and rank responsibly. I conclude how the signification of digital reputation is not only conformist and essentialist but also meaningless. The banality of reputation argues that, in the context of popular social media, there is no real or substantial information made available to distinguish between a “good” or a “bad” reputation, except for stylized banality, a stylistic focus on lifestyle and commodities. The point is that reputation should not be banal and meaningless. Many important political and institutional decisions in a democracy rely on the evaluation of reputation and critical assessment of the information upon which such evaluations are made. Although platform capitalism has made digital reputation meaningless, it is in fact an essential skill to critically orient oneself in digital societies.
... The broad field of media and cultural studies keenly felt that it needed to turn away from what was now deemed to be too naive an approach to mediated culture. It did not help that the new reality genres that offered a public presence to non-professionals, or "ordinary people," and then the new digital platforms that allowed for amateur production, after a brief moment of anarchist hope in the late 1990s, could be seen to close down rather than open multiple identity formation (Lovink, 2002(Lovink, , 2012Ytreberg, 2004). To understand the politics of the new media culture as allowing for broad fantasies of new selves and different worlds, felt like a small part of a troubling and much larger whole. ...
This article starts from the observation that popular culture resides in a contradictory space. On the one hand it seems to be thriving, in that the range of media objects that were previously studied under the rubric of popular culture has certainly expanded. Yet, cultural studies scholars rarely study these media objects as popular culture. Instead, concerns about immaterial labor, about the manipulation of voting behavior and public opinion, about filter bubbles and societal polarization, and about populist authoritarianism, determine the dominant frames with which the contemporary media environment is approached. This article aims to trace how this change has come to pass over the last 50 years. It argues that changes in the media environment are important, but also that cultural studies as an institutionalizing interdisciplinary project has changed. It identifies “the moment of popular culture” as a relatively short-lived but epoch-defining moment in cultural studies. This moment was subsequently displaced by a set of related yet different theoretical problematics that gradually moved the study of popular culture away from the popular. These displacements are: the hollowing out of the notion of the popular, as signaled early on by Meaghan Morris’ article “The Banality of Cultural Studies” in 1988; the institutionalization of cultural studies; the rise of the governmentality approach and a growing engagement with affect theory.
The digital age has revolutionized the relationship between art, vandalism, and media, creating a complex intersection of creativity, ethics, and law. With the rise of digital platforms, art no longer exists solely within traditional galleries or physical spaces but has migrated into online realms, enabling new modes of representation. This transformation challenges established perceptions of artistic value, shifting the discourse around what constitutes high art versus subversive or unauthorized expression. Street art, once confined to physical urban spaces, has found new life through social media, often reaching global audiences instantly. Banksy's assertion that "Art should comfort the disturbed and disturb the comfortable" (Shove 22) highlights the tension between art as a form of expression and art as a form of disruption, with street art often blurring these boundaries. This study examines how the proliferation of digital technologies has contributed to the rise of digital vandalism, where traditional notions of ownership and authorship are challenged. Social media, for instance, amplifies the visibility of street art, sometimes commodifying it and transforming it into a marketable product, further complicating debates about the ethics of artistic freedom and property rights. Additionally, digital vandalism, including the defacement or unauthorized replication of works online, raises questions about the extent to which technology can be used as a tool for both creation and destruction. As digital platforms enable INDICA JOURNAL (ISSN:0019-686X) VOLUME 6 ISSUE 2 2025 PAGE N0: 1 widespread dissemination of art, they simultaneously pose new challenges for legal frameworks, demanding a reevaluation of how we understand and regulate the intersection of creativity and property in the modern era. The study concludes these complexities, urging a broader understanding of digital vandalism in the context of evolving technology.
Deneyimsel Değer, İlaç Sektörü, Sosyal Medya Pazarlaması
Fluidity and ubiquity are two fundamental principles of our contemporary world, representing new ways of perceiving, thinking, experiencing, organising, and creating various aspects of our present world. These principles have radically transformed models of economic exchanges, industrial production, social relations, cultural representations, and aesthetic expressions. Fluidity serves as a philosophical antithesis to the modern rigid, stratified, and binary worldview, celebrating a fluid, non-stratified, and non-binary perspective driven by dynamic flow, flux, and connectivity. On the other hand, ubiquity defines our present world of objects, which are created through augmented and mixed reality, giving them the property of being present anywhere and everywhere. Both fluidity and ubiquity serve as contemporary models for generating disruptive ideas, forms, styles, products, organisations, and systems. Fluidity represents the fluid-creative organisation of physical, social, cultural, and aesthetic elements, independent of binary structures, while ubiquity represents the transformation of objects from the virtual to the trans-material.
İnsanlık tarihinin ortak deneyimleri arasında yer alan göç olgusu, bugün dünya üzerindeki çoğu toplumun bir özelliğidir. Her yıl binlerce insan çeşitli sebeplerle doğdukları, büyüdükleri ülkeden ayrılarak başka ülkelere doğru yola çıkmaktadır. Bu insanların hangi sebep ve beklentilerle göç kararı aldığı araştırmacılar açısından merak konusudur. Bu çalışmada da benzer bir merak duygusunun peşinden gidilerek Twitter kullanıcılarının hangi sebeplerle bu ülkeden gitmek istediği sorusu araştırma problemine dönüştürülmüştür. Bu problem ekseninde öncelikle “bu ülkeden gidicem”, “bu ülkeden gitmek istiyorum”, “bu ülkeden gideceğim” şeklinde 3 anahtar kavram belirlenmiş ardından Twitter’da yer alan gelişmiş arama motoru aracılığıyla araştırma verilerine ulaşılmıştır. Elde edilen veriler yorumlayıcı içerik analizi tekniği ile yorumlanmıştır. Bulguların analizi sonucunda; Twitter kullanıcıları için şiddet olgusunun önemli bir göç motivasyonu olduğu görülmüştür. Özellikle Türkiye’de son yıllarda artan kadına şiddet vakaları kaynaklı suç mağduru olma korkusuna belirgin bir “bu ülkeden gitme arzusunun” eşlik ettiği görülmüştür. Kadınların yurt dışına gitme motivasyonuna eşlik eden bir diğer unsurun Türkiye’deki hukuk sistemi ile ilgili olduğu açığa çıkmıştır. Bu noktada kadınların Türkiye’deki adalet sistemi kurumlarının kadınların güvenliğini sağlama da başarısız olduğunu düşündükleri saptanmıştır. Türkiye’deki ataerkil toplumsal yapıdan kaynaklı yaşanan mağduriyetlerin de kadınların göç motivasyonlarını şekillendirdiği görülmüştür. Ayrıca şiddet olgusu bir göç motivasyonu olarak nitelikli iş gücü olan sağlık çalışanlarının bu ülkeden gitme isteğinde de kendini göstermiştir. Sağlık çalışanları göç motivasyonu olarak düşük ücretleri, olumsuz çalışma şartlarını, yoğun iş yükünü, sınırlı gelişme olanaklarını, yetersiz teşvik ve saygınlık ihtiyacını ileri sürmüştür. Çocuk sahibi olan ebeveynler ise “çocuk sahibi olmayı” yurt dışına gitmek için kritik bir motivasyon kaynağı olarak belirtmiştir. Bununla birlikte, Türkiye’nin son 3 yılına damgasını vuran ekonomik krizin bireylerin göç motivasyonları üzerindeki itici etkisi ön plana çıkmıştır. Ekonomik krizin etkisiyle ortaya çıkan zorlayıcı koşullar sebebiyle bireylerin daha yüksek refah şartları için göçü bir çözüm olarak gördükleri tespit edilmiştir. Bu durumla bağlantılı olarak geçim sıkıntısı yaşayan bireylerin göreceli yoksunluk duygusu yaşadıkları ve bu duygu durumunun göç motivasyonlarını arttırdığı görülmüştür. Tüm bu bulguların yanında göç etme kararında bireyler için mikro düzey etmenlerin önemi açığa çıkmıştır. Bireylerin geleceğe yönelik beklentilerinin göç motivasyonlarını oluşturan önemli bir bileşen olduğu sonucuna ulaşılmıştır.
Historical narratives of Ethiopia’s state-formation and nation-building have been a contentious issue among Ethiopian elites. For the Abyssinian elites (hailed from the Northern part of today’s Ethiopia) who historically constituted the core of the Ethiopian state, Ethiopian history dates back to several centuries. But for those from the broader South, modern Ethiopian history can only be traced back to the second half of the nineteenth century, when Emperor Menelik II invaded the south and forcefully brought the various independent southern kingdoms under imperial rule. The chapter examines the key events that have transpired in Ethiopia over the last two years. It also analyses the social media engagements (Facebook and YouTube channels) of key personalities in relation to such key events from both the ethnic Oromo and ethnic Amhara camps. This is done using data that is collected and analysed using a discourse analytical perspective, and thereby identify the nature of competing narratives advanced by the two camps, making a case as to what such struggles might mean for social agency as well as for the broader issue of social justice in Ethiopia.
Filmen sieht man nicht vollständig an, wie sie gemacht wurden. Einblicke in ihre Herstellung liefern jedoch andere Filme: Making-ofs, Filme über Filmproduktion, die sich bis ins frühe Kino zurückverfolgen lassen. Making-ofs breiten sich in der post-kinematografischen Medienkultur des frühen 21. Jahrhunderts explosionsartig aus. Felix Hasebrink analysiert ihre Formen und Verbreitungswege in unterschiedlichen Kontexten: Dokumentarfilm, Home Video, Social Media und Festivalkino. In dieser Perspektive sind Making-ofs weitaus mehr als filmindustrielles Marketing - sie machen darauf aufmerksam, wie das Medium Film heute seine eigenen Produktionsbedingungen ästhetisch bearbeitet.
Este artículo estudia los orígenes y principios de los formatos que, en la década de 2000, canalizaron la aparición de nuevas formas del discurso y la crítica de arquitectura en internet. Comenzando con aquellos que impulsaron el acceso al ejercicio discursivo desde posiciones alternativas a las reguladas por la industria editorial o la academia –el blog, el microblog y el foro– y continuando con aquellos otros generalizados tras la irrupción de las redes sociales –el hilo y el tablón–, el artículo recorre los formatos que definieron en ese periodo los derechos y deberes de la producción discursiva digital, así como la evolución de su ideario asociado desde la participación y la democratización hacia el comercialismo y el control.
Yeni medya, katılımcı kültürünü, etkileşimi, eğlence, şov ve kazanç güdüsünü sentezleyen dijital bir medya türüdür. Kamusal ve özel alan arasındaki ayrımı bulanıklaştıran bu alanlar, öz(n)el deneyimleri ve mahrem alanı deforme etme, kimlikleri pazar değerine indirgeme gibi çeşitli tehlikeler içermektedir. Yeni medyada yaratılan kimlik inşaları gerçek olmadıkları için bu alanlar yer yer sahte kimlikler ve yapay deneyimler üretmektedir. Bu çalışma, yeni tekno-ahlaki dizgenin çerçevesini tartışmaya açarak, dijital ortamdaki kimlik kurulumu ve mahremiyetin düşüşünü ele almaktadır. Çalışmanın kapsamını, YouTube’da yayın yapan Soramazsın programının videoları oluşturmaktadır. Soramazsın, çeşitli konuklara izleyici soruları yönlendiren bir program formatına sahiptir. Programın videoları sayıca fazla olduğundan örneklem olarak en çok görüntülenen on video seçilmiştir. Çalışmada, ilk aşamada birer metin olarak ele alınan bu on videonun çözümlemesi yapılmıştır. Daha sonra videolarda baskın olan konu ve temalar üç kategori altında toplanmıştır. Bunlar, cinsellik/cinsel yönelim/cinsel kimlik, din/dini tercihler ve devlet/sistem başlıkları altında incelenmiştir. Bu videolar, Van Dijk’ın söylem analizinde etkili olan bilgi tipolojisi çerçevesinde analiz edilmiştir. Çalışmanın amacı, programda temsil edilen kimliklerin metalaşma sürecini ve mahremiyet algısının yapısöküme uğramasını irdelemektir. Çalışmada, toplumun farklılık temelli gruplarının topluluk üyelerinin sorularındaki bilgi eksikliği, önyargılar ve kimliklere yönelik baskıcı eğilimler nedeniyle program konuklarının etiketlendiği bulgusuna erişilmiştir. Aynı zamanda, ticari kaygı ve popülerlik talebiyle mahremin yıkımı olgusunun olağanlaştığı bu program, kimliklerin metalaştırıldığını ve kavram/temaların bulanık bir hal aldığını da ortaya koymuştur.
The media often produces destructive and provocative stories, which can erode and destroy the communal life. This research, which is based on a literature study and observation of digital space phenomena, is an attempt to build a contextual theology to respond to the phenomenon of hoaxes that proliferate in digital media. Through this study, it was revealed that hoax, that appears as half-true news, could be considered as a truth if it is constanly promoted. In dealing with this phenomenon, Christ is an example to be able to discern and confront every available information, so that the truth can be uncovered.
Abstrak. Media seringkali memproduksi cerita-cerita destruktif dan provokatif, yang dapat mengikis dan menghancurkan sendi kehidupan bersama. Penelitian yang didasarkan pada studi pustaka dan pengamatan fenomena ruang digital ini adalah sebagai upaya untuk membangun suatu teologi kontekstual untuk menanggapi fenomena hoaks yang menjamur di media digital. Melalui studi ini terungkap bahwa berita bohong, yang sering tampil sebagai berita setengah benar, akan menjadi narasi yang dianggap benar, jika dipromosikan secara terus-menerus. Berhadapan dengan fenomena ini, Kristus menjadi teladan untuk bisa mencermati dan mengonfrontasi setiap informasi yang ada, sehingga kebenaran bisa terungkap ke permukaan.
Este artigo é uma reflexão sobre contribuições habermasianas à ética da informação. A questão da ética da informação continua a ser problemática. Ela deve ser coordenada desde que paradigma de relações interculturais? O caráter eurocêntrico das ciências da informação tem sido problematizado, sobretudo em relação aos regimes de verdade que se produzem na ciência e na tecnologia. O que significa a produção de conhecimento e a troca de saberes de caráter emacipatório para a ciência da informação? Embora essa questão não tenha sido abordada diretamente por Habermas, há elementos de sua investigação que podem trazer contribuições relevantes. Em diálogo como González de Gómez, Albagli, Capurro e Floridi oferecemos alguns elementos da reflexão habermasiana ao tema. Os conceitos de aprendizagem comunicativa e liberdade comunicativa podem ter amplo interesse para uma ética intercultural da informação.
Conquering the world market has become the main goal of media oligarchy who do not advocate democratization and integration, but within the process of cultural imperialism through their program they promote cultures of developed countries. In a global environment, postmodern media simultaneously become part-takers, creators and distributors of events promoting entirely the appearance but not the content and meaning of the transmitted message. Global communication has changed the space/time paradigm, and the lack of compassion and interest of the audience from the ‘center’ for the events at the ‘periphery’ have created not only a sense of ‘safe’ viewing of news outside the zone of danger but also the lack of empathy. Unlike traditional perception of reality, the aesthetic illusion is newly produced media reality affects confusingly the audience which can no longer distinguish between fiction
and reality, and truth and manipulation. Transformation of international into global communication arising from the development of technology, has changed the way
networked users communicate and introduced them into an interactive, multimedia virtual world that has accelerated the flow of a large number of information that is available to the global audience. Thus, the process of convergence of international communication and informative-communicational technology enabled individuals to emerge from the framework of national states, to participate in democratic communication and become subjects of global communication, and depending on their individual abilities, level of media literacy, motivation and search methods, can explore the layered structure of the Internet. The active individuals, by taking on the role that previously belonged to journalists, within the framework of civic journalism, the concept in which the mass media actively participate in collecting, reporting and critical review of news, post comments and multimedia attachments and thus share with journalists the role of “guardian of information” that once used to be the journalists’ exclusive role. Benefits of new media are also used by journalists involved in institutionalized communication centers, fostering contacts within their own web
community, taking on the role of a multimedia storyteller who designs and presents media content in different formats. The aim of the paper is to by using describing and comparative methods points out the similarities and differences between international and global communication in an aestheticized, media-produced reality, with a special emphasis on the impact of propaganda and the importance of the idea of global understanding which with the development of a global public sphere comes at the center of interest. Different approaches to the limitations of the Internet’s role range from reflection on inequality of participation in global dialogue, language barriers, the availability of extremist groups abusing freedom of information, through denial
of the development of cosmopolitanism on the Internet, the role of the state in regulating internet communication, to great differences in conditions for work, property condition, knowledge, skills and knowledge of languages within states. It is concluded
that there are serious obstacles to understanding in the virtual space in conquering global publicity, developing dialogue and pluralism, because, contrary to the idea of understanding and tolerance, there is manipulation, propaganda, language of hatred,
nationalist discourse, and censorship on the Internet. However, except for limitations, there are also advantages offered to Internet users in the sphere of market integration, globalization of entertainment, fast and easy transfer of ideas, cultures and labor, as well as in the field of migration and tourism. (Освајање светског тржишта постало је основни циљ медијских олигарха који се не залажу за демократизацију и интеграцију, већ својим програмима у оквиру процеса културног империјализма промовишу културе развијених земаља. У глобалном окружењу постмодерни медији истовремено постају актери, креатори и дистрибутери догађаја промовишући изглед, а не садржај и значење поруке коју преносе. Глобално
комуницирање изменило је парадигму простор/времена, а нестанком саосећања и интересовања публике из ‘центра’ за догађаје на ‘периферији’, дошло је до стварања осећаја ‘безбедног’ посматрања вести ван зоне опасности и одсуства емпатије. За разлику од традиционалног поимања стварности, естетски привид односно новопроизведена медијска реалност збуњујуће делује на публику која више не може да оцени шта је фикција, а шта стварност, шта је истина, а шта манипулација. Рад има за циљ да коришћењем дескриптивне и компаративне
методе укаже на сличности и разлике између међународног и глобалног комуницирања у естетизованој, медијски произведеној стварности са посебним освртом на утицај пропаганде и значај идеје глобалног разумевања које долази у средиште интересовања са развојем глобалне јавне сфере. Закључује се
да постоје озбиљне препреке разумевању у виртуелном простору у освајању глобалног публицитета, развијању дијалога и плурализма, јер насупрот идеји о разумевању и толеранцији, на Интернету је присутна манипулација, пропаганда, језик мржње, националистички дискурс, цензура.)
Whilst technology may have been the ‘saviour’ of HE from the immediate challenges of the pandemic, the opportunistic dialogue emerging in response is imbued with notions of the pandemic as a catalyst for change. Empowered by the apparent success of technology’s deliverance, the door has been opened to unprecedented investment into a pervasive and data-driven paradigm of technology. Utilising a Critical Discourse Analysis of sector-orientated literature published in response to the pandemic, this paper examines the emergent rhetoric of technology and problematises taken for granted assumptions concerning its adoption in the imagined future of HE. This paper argues that such rhetoric is mediatory of neoliberal and consumerist ideologies, and that the portrayal of technology as a wholly beneficial enterprise obscures other issues and inequalities. By positioning educational technology in a uniquely political light, this paper offers a critical lens through which to view this new era of technological pervasion.
Bu makale sosyal ağ platformlarının dijital gözetime sağladığı olanaklara açıklık getirmeyi amaçlamaktadır. Bu çerçevede her ne amaçla olursa olsun insanların ve toplumların izlenmesi, kişisel bilgilerin kayıt altına alınması, tasniflenmesi ve işlenmesi olarak tarif edilebilen gözetimin tarihsel olarak aldığı biçimlere işaret edildikten sonra dijital teknolojinin yarattığı olanakların gözetimin dijitalleşmesine de yol açması ele alınmaktadır. Ardından panoptikon, sinoptikon ve omniptikon metaforlarına dayanarak kapitalist toplumun yeni bir yönünü temsil eden dijital gözetim toplumuna ilişkin kavram önerisi yapılmaktadır. Çünkü ilgili alanyazında bu kavramdan ya dijital gözetimin hüküm sürdüğü günümüz toplumunun dijital gözetim toplumu olduğu var sayılarak ya da panoptikon ve sosyal medyaya indirgenerek söz edilmektedir. Burada dijital gözetim toplumu, teknolojinin her türlü biçiminin olanaklı kıldığı panoptik, sinoptik ve omniptik gözetim biçimlerinin iç içe geçerek işlev gördüğü ve post modern kültür bağlamında gözetimin sıradanlaştığı bir toplum olarak tarif edilmektedir. Son olarak da sosyal ağ platformlarının dijital gözetimin aracı haline nasıl geldiklerine açıklık getirilmektedir.
This article aims to clarify the contribution of social networking platforms to digital surveillance. After pointing out the historical forms of surveillance, which can be defined as the monitoring of people and societies, recording, classification, and processing of personal information for whatever purpose, it considers how the possibilities created by digital technology lead to digitalization surveillance. Based on the metaphors such as panopticon, synopticon, and omnipticon, it embarks on conceptualizing the digital surveillance society, representing a new aspect of the capitalist society. Because in the relevant literature, it is referred to either as the assumption that today's society is a digital surveillance society due to simply prevailing digital surveillance or as the reduction to panopticon and social media. The digital surveillance society is here defined as a society where, thanks to all kinds of technology, panoptic, synoptic and omniptic surveillance forms function intertwined and surveillance becomes ordinary in the post-modern culture. It then clarifies how social networking platforms have become instruments of digital surveillance.
ResumenEste artículo traza una analogía entre el agregador, un formato digital basado en la recopilación dinámica y sintetizada de contenidos externos, y tres obras de la oficina francesa BRUTHER: un proyecto teórico de 2018 publicado en la revista Cartha, su manifiesto en 99 notas y el Centro de Investigación de Nueva Generación en Caen. La analogía se construye en base a los planteamientos del crítico de arte David Joselit, para quien el agregador es un formato que, debido a su ubicuidad en la ecología mediática contemporánea, traslada sus lógicas a muchos otros ámbitos, incluidos el del arte y la creación. Dichas lógicas promueven la congregación de entidades singulares y diferenciadas en una superficie y espacio común, algo que resulta en formas que no presentan jerarquías definidas ni persiguen la síntesis ni la finitud, sino la movilización de aproximaciones múltiples e individualizadas. Tal y como se refleja en el manifiesto de la oficina gala, el trabajo de BRUTHER se asienta igualmente en la congregación de referencias materiales e imaginarias singulares y diferenciadas, cuyo encuentro persigue la movilización de nuevas ideas y motivaciones proyectuales. El proyecto publicado en Cartha y el Centro de Investigación se presentan aquí como dos productos derivados de esta lógica: arquitecturas generadas a partir de la recopilación de materiales de procedencia diversa y de nivelada importancia que, en su coexistencia, alimentan la generación de curiosidades, intuiciones y escenarios espaciales.AbstractThis article draws an analogy between the aggregator, a digital format based on the dynamic collection of external contents, and three works by the French office BRUTHER: a theoretical project of 2018 published in the Cartha journal, its manifesto in 99 notes and the New Generation Research Center in Caen. The analogy is based on the proposals set by art critic David Joselit, for whom the aggregator is a format which, due to its omnipresence in the contemporary media ecology, transfers its logic to many other spheres, including art and creation. These logics promote the gathering of differentiated entities in a common space and surface, something which results in forms that do not exhibit defined hierarchies nor completion, but foster multiple and individualized approaches. As reflected in the manifesto of the French office, BRUTHER’s work is also established on the gathering of unique, differentiated material and imaginary references, the meeting of which seeks to mobilize new ideas and design intuitions. The works published in Cartha and the Research Center are presented here as two products stemming from this logic: architectures generated from the collection of materials of diverse origin and of level importance that, in their coexistence, feed the generation of curiosities, intuitions and spatial scenarios.
This article draws an analogy between the aggregator, a digital format based on the dynamic collection of external contents, and three works by the French office BRUTHER: a theoretical project of 2018 published in the Cartha journal, its manifesto in 99 notes and the New Generation Research Center in Caen. The analogy is based on the proposals set by art critic David Joselit, for whom the aggregator is a format which, due to its omnipresence in the contemporary media ecology, transfers its logic to many other spheres, including art and creation. These logics promote the gathering of differentiated entities in a common space and surface, something which results in forms that do not exhibit defined hierarchies nor completion, but foster multiple and individualized approaches. As reflected in the manifesto of the French office, BRUTHER’s work is also established on the gathering of unique, differentiated material and imaginary references, the meeting of which seeks to mobilize new ideas and design intuitions. The works published in Cartha and the Research Center are presented here as two products stemming from this logic: architectures generated from the collection of materials of diverse origin and of level importance that, in their coexistence, feed the generation of curiosities, intuitions and spatial scenarios.
Digitality is an imposition. This does not contradict the advantages of digital technology. Nor does it contradict the facilitation, assistance and productivity from which people profit in ever-increasing areas of their lives through the use of computers and their connectivity.
The algorithmic distribution of news on digital platforms has become an increasingly prominent policy issue. There are concerns about the ability of technology companies like Google and Facebook to independently modify their algorithms, arbitrarily changing how news is distributed across their services. This dramatically affects people who want to access news and news outlets who want audiences to reach their websites. Governments are also worried about misinformation and hate speech and whether algorithmic distribution amplifies these activities. In this chapter, we canvass these regulatory trends and outline some of the more popular conceptual responses. We go on to introduce historical institutionalism, the theoretical and methodological approach that informs the collection as a whole. After this, we summarize the major themes from this collection, before introducing each chapter and ending with a reflection on future research directions for journalism and media policy scholars.
Gezi Direnişi'ni de içine alan Arap Baharı, Occupy, Öfkeliler gibi toplumsal ha-reketlerin ortak özelliklerinden biri, yaşanan toplumsal olayların belgeselciler, foto/ video muhabirler, video aktivistler ya da devletin kolluk güçlerinin kameramanların-dan daha çok ve artan oranda eylemciler ve tanık yurttaşlar tarafından görsel-işitsel olarak kayıt altına alınmalarıdır. Bu son grubun ürettiği görsel-işitsel materyal yığı-nı göz ardı edilemeyecek düzeyde ciddi bir yekûn tutmaktadır. Tam olarak miktarı-nı bilemesek de, kişisel depolama alanlarında saklanan, torrentlerde biriktirilen, kıs-men de sosyal medyada ve internet video platformlarında paylaşılan bu görsel-işit-sel materyal, Gezi Direnişi ve benzeri toplumsal hareketlerin kolektif belleği, tarihya-zımı ve belgesel yapımı için çok kıymetli. Bu makalenin temel sorusu, bu görsel-işit-sel materyalin Gezi Direnişi (veya benzeri bir toplumsal hareket) belgeselinin üreti-minde kullanılması ile yetinilmeyip, yeni belgesel biçimleri ve yapım anlayışları içinde, söz konusu materyali üreten eylemcilerin ve tanık yurttaşların da belgesel üretim sü-recine nasıl dahil edilebileceğidir. Burada, bu yeni belgesel biçimlerinden birinin "ye-ni medya belgeselciliği" içinde "veritabanı belgeseli" olabileceği iddia ediliyor. Veri-tabanı belgeselinin, tüm yeni medya belgesel türleri gibi etkileşimli olmasının yanı sı-ra, katılıma ve birlikte üretime açık olma niteliklerinin Gezi Direnişi'ni anlamakta bi-ze yardımcı olacağı ortaya konuyor. Bu bağlamda, örnek veritabanı belgeselleri üze-rinden, üretici olarak veritabanı belgeselcisinin sunduğu montaj aracı ile eylemcilerin ve tanık yurttaşların üretim sürecine katılımı ve birlikte yaratımın imkânlılığı eleştirel biçimde sorgulanıyor.
Anahtar sözcükler: Gezi Direnişi, belgesel sinema, yeni medya belgeseli, veritabanı belgeseli, kolektif bellek, montaj.
The Routledge Handbook of Translation and Methodology provides a comprehensive overview of methodologies in translation studies, including both well-established and more recent approaches.
The Handbook is organised into three sections, the first of which covers methodological issues in the two main paradigms to have emerged from within translation studies, namely skopos theory and descriptive translation studies. The second section covers multidisciplinary perspectives in research methodology and considers their application in translation research. The third section deals with practical and pragmatic methodological issues. Each chapter provides a summary of relevant research, a literature overview, critical issues and topics, recommendations for best practice, and some suggestions for further reading.
Bringing together over 30 eminent international scholars from a wide range of disciplinary and geographical backgrounds, this Handbook is essential reading for all students and scholars involved in translation methodology and research.
Already in the Gutenberg Galaxy, a majority of literary writers had to work in precarious conditions. Today, in the digital society, the literary value chains become even more challenging. This chapter firstly examines the idea of ‘intellectual property’ and the historically evolved structures of the book market—both were primarily meant to ensure a livelihood for freelance authors. Secondly, it reflects on innovative attempts to develop new digital business models like the crowdfunding of literature. Thirdly, it analyzes the radio play “Stripped. Ein Leben in Kontoauszügen” (2004) by Stefan Weigl, the crowdfunded book project “Eine neue Version ist verfügbar” by Dirk von Gehlen (2013) and, more intensively, the poetics lectures “Essenpoetik” (2014) by Kathrin Röggla. It will show that the precariousness of writer’s lives leaves traces even in the aesthetic structures of their literary works.
The rise of social media platforms has issued in a new configuration of the online self, where the user is interpellated as possessing a persistent personal identity. By contrast, there continue to exist various alternative enactments of online identity on sites like 4chan that are ephemeral and impersonal. Whereas the former is symbolized by the face, the latter is symbolized by the mask. Aiming to better understand the differences between face and mask as engendering two incompatible online identity formations, this chapter looks at the anon/Anonymous pseudonyms, the Guy Fawkes mask, the stock avatar, and the naked obese man image as enactments of 4chan’s impersonal identity, as undercutting the personalized and networked individualism of platforms.
The present paper analyzes the emergence of Bulgarian digital libraries with pirated literature as a form of compensation for the failure of both the state and the market to provide easy access to electronic books in Bulgarian. These grass-roots digital libraries can be understood best through an analysis of the dichotomies between formal and informal economy, law and ethics, commercial and non-commercial interest, bricolage and engineering. Sharing of books online in Bulgaria has its historical precedent in the sharing of cultural objects during socialism and is part of the larger logic of informal economy as a form of independence from/resistance to the state. While many of the books in these electronic libraries are uploaded in infringement of copyright, the creators and users of the sites defend them on the basis of what is ethically right and claim that they contribute to the spread of knowledge. The paper emphasizes the rhetorical force of the word ‘library’ which is being appropriated by both commercial and non-commercial actors. Without underestimating the value provided by many of the grass-roots digital libraries discussed, the analysis leads to the question whether the bottom-up collaborative strategy for digitizing books is the optimal one in terms of the variety of titles offered and the overall coherence of digital archives. In short, should sharing replace more traditional state policies in the field of culture?
Vaporwave grabs the attention of internet voyager with harsh collages glued together in a technically primitive manner. It’s a cultural phenomenon which both originated and is active solely on the internet. In the context of general internet culture Vaporwave is exclusive in its aesthetics due to the domination of violet and pink colors, technically primitive quality of texts, fetishization of 8th and 9th decade mainstream commodities and acute nostalgic undertones. Vaporwave has been mostly explored as a music genre or sociological phenomenon, while its visual aspect has mostly remained unattended. This article seeks to analyze the conceptual aspects embodied within Vaporwave visuals, to briefly compare them with music, and to unpack the mechanism of nostalgia as an affective entry point to the movement. The interpretation is mainly lead by Jean Baudrillard’s theory of hyperreality, and interpretational principles of hermeneutics. Five Tumblr blogs were analyzed. Hermeneutic inquiry into the texts yielded seven distinct symbol categories differentiated by the affect they generate: nostalgic commodities, idyllic classics, melancholic landscapes, harsh distortions, gentle geometry, depressive texts, and ecstatic brands. Each of these categories here are elaborated in detail finally summarizing the multilayered symbolism of the movement. It can be described as nostalgically challenging visual conventions through harsh technical quality and opposing codes of behavior through open expressions of depression and melancholy, thus exposing the doubts of individual imprisoned in postmodern society. ’80s and ’90s here become hyperreal fantasy lands of the past where a nostalgic individual can find refuge. In comparison to music, the visual aspect of Vaporwave highlights the technology as central artefacts of nostalgia, introduces new ways to analyze late capitalist consumer culture, and brings an intimate dialogue with hyperreality to the front. The article suggests that Vaporwave is a post-ironic art movement which both celebrates and criticizes capitalism, finally remaining vague whether there are ways to escape the system, and whether these ways should even be looked for.
The COVID‐19 pandemic emptied classrooms across the globe and pushed administrators, students, educators, and parents into an uneasy alliance with online learning systems already committing serious privacy and intellectual property violations, and actively promoted the precarity of educational labor. In this article, we use methods and theories derived from critical informatics to examine [anonymized] University's deployment of seven online learning platforms commonly used in higher education to uncover five themes that result from the deployment of corporate learning platforms. We conclude by suggesting ways ahead to meaningfully address the structural power and vulnerabilities extended by higher education's use of these platforms.
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Se recogen en este artículo las principales características y conclusiones de una investigación centrada en los comentarios que jóvenes españoles difunden y comparten en algunas redes sociales a propósito del consumo de drogas. El interés del estudio, se centra, por un lado y atendiendo al objeto material de análisis, en conocer cuál es discurso dominante de dichos jóvenes en relación a esa práctica. Y por otro, atendiendo a su objeto formal, en evaluar la pertinencia de aplicar técnicas propiamente comunicativas basadas en el análisis de mensajes a un contenido generado por los usuarios, en lugar de otras tradicionalmente utilizadas para la investigación de fuentes primarias en los ámbitos metodológicos cuantitativo (encuestas) y cualitativo (entrevistas en profundidad, reuniones de grupo). Los resultados obtenidos ponen de relieve una valoración mayoritariamente positiva del consumo de sustancias psicotrópicas, frente al tratamiento habitualmente negativo recibe en los espacios mediáticos. En los mensajes analizados prima la percepción de las drogas como potenciadoras de la diversión, así como paliativo para las carencias caracteriales y sociales. Los jóvenes son conscientes de los riesgos para la salud del consumo de drogas, pero dan más importancia a los inconvenientes que les afectan de forma inmediata, como impedimento a sus aspiraciones relacionales, laborales e intelectuales. A la luz de estos resultados cabría preguntarse si los mensajes mediáticos contra el consumo de drogas consiguen influir suficientemente en la percepción de los consumidores potenciales o si, por el contrario, esos mensajes están alejados sus intereses, deseos y preocupaciones.
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