New Media and Digital Culture

Resumen. El fenómeno Booktube se configu-ra en un claro ejemplo de la cultura parti-cipativa, donde los usuarios toman las rien-das de los medios para aportar sus propias ideas, en este caso referidas a la literatura. En este trabajo se analiza el carácter que toman las producciones audiovisuales de los booktubers, intentando dilucidar si se trata de un fenómeno fandom que además puede ser evaluado como crítica literaria. Tras revisar algunas ideas en torno a la crí-tica, estaríamos dentro de la categoría en la que Edward W. Said incluye a las reseñas de libros o al periodismo literario, aunque teniendo en cuenta su carácter amateur. También se resalta el que se opte por for-mas de literatura que no forman parte del canon central del sistema cultural, lo que dota de una gran originalidad a la selección de los títulos propuestos. Dada la impronta entre el público juvenil, se recomienda em-prender estudios que aborden la eficacia de este tipo de prácticas en la promoción de la lectura, especialmente en el ámbito universitario. Palabras clave: Booktube; crítica literaria; redes sociales; participación cultural; promoción de la lectura. Abstract. The booktube phenomenon is configured as a clear example of partici-patory culture, where users take control of media offering their own ideas, in this case referred to literature. This article discusses the character of audiovisual productions created by booktubers. Additionally, it tries to resolve if these cases are a fandom phenomenon that also can be considered as literary criticism. After reviewing some ideas towards the criticism, these videos are found to be in the category established by Edward W. Said composed by reviews and literary journalism, although taking into account their amateur nature. Also, it is remarked that the booktubers selection of literary forms do not take part in the central canon of the cultural system. This situation provides the selection of the titles with a great originality. Because of the importance of Booktube among the young audience of readers, new research is recommended in this area for reading promotion , especially at the university level.

Social relations between the Khasi and the non-tribal settlers in Meghalaya are filled with little nostalgia and much violence. A freak incident in June 2018 between two individuals due to an already congested traffic situation in the streets of Shillong, which should have wrapped up within the police station soon takes a communal overtone and escalates into a huge law and order failure, resulting in several days of curfews, flag marches and a total clamping down of mobile and internet services over the entire state for over fifteen days. The way this incident gained momentum within a short span of few hours and took a violent turn instantly takes us back to the series of clashes Shillong witnessed in 1979, 1987, and early 1990's. At the core of all these violent clashes including the most recent one what remains consistent is an identity, a feeling of oneness, belongingness and togetherness, self-esteem and pride often demarcated on the ethnic lines. An identity that deeply roots itself into the "sameness" of language, culture, religion and stems out of differentiation of us and them is marred in conflict. Ethnic identity is a socio-political construct that has been a driving force of resistance and power since the formation of Meghalaya as a state in 1972. This study through ethnography of an online community explores how the Khasi youth are conceptualizing their social identity in an online space. The study reveals that the online community in social media

Increasingly, the virtual became reality by hybridization of the world as we knew it: the process that went on in recent years is one of a technically assisted hybridization of both space and self, the »old« world is becoming virtualized and functionalized to a degree never experienced before. For the first time in human history, we have reached a threshold where we have not only to re-assert but to redefine ourselves, as regards our fundamental terms of understanding what the world means for us, our base of existence, and now an assemblage of mixed realities; and connected, what being human means.

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This paper is a conceptual framework for comprehending how the shift in people’s access and choices in news, entertainment, and other information, changes people’s media consumption habits; thwarts many Mass Media business models and practices; and proposes that a shift is underway from the Mass Media of the Industrial Era and to the computer-mediated Individuated Media of the Informational Era. This epochal shift, resulting in most people having nearly instantaneous access in hand to more information than has before been printed or broadcast, is the greatest change in the history of media. It is already causing profound political, industrial, and societal effects and changes worldwide.

Dalla sua nascita nel 2011, Twitch.TV ha fatto registrare numeri sempre maggiori di utenti, spettatori, visitatori e, sopratutto, i cosiddetti "streamer": una nuova classe di intrattenitori digitali rivolti sopratutto ai giovani che adottano dei precisi stilemi e tecniche di comunicazione. Nata come piattaforma strettamente legata ai videogiochi, ad oggi Twitch conta tantissime categorie di contenuti: dal Just Chatting (chiacchierate pure e semplici) all'arte e al disegno; dalla cucina all'allenamento e alla musica.
Restano ancora da studiare, però, le peculiarità di Twitch nel campo della sociologia dei nuovi media e della sua influenza sullo sviluppo della cultura giovanile: lo facciamo qui, contrapponendo alle teorie classiche relative ai media e ai new media la realtà di Twitch, un unicum nel panorama della comunicazione digitale mediata che presenta caratteri di unicità finora mai elaborati e studiati a fondo.

Over the past decades, fashion has acquired centrality in social and economic processes for its capacity to penetrate and influence both cultural production and identitarian practices. The proliferation of media objects such as fashion films, makeover TV shows, fashion blogs and vlogs has shown how prolific the encounter between fashion and audiovisual media can be. The aim of this special issue is to explore this intersection and, consequently, the cross fertilization between fashion studies and media studies, with particular regard to audiovisual media, such as cinema, television, advertising and digital video. The essays interrogate how the combination of fashion and the moving-image enables us to reflect upon the ubiquitous presence of fashion in our media-saturated landscape, and at the same time upon the ubiquitous presence of media in socio-cultural practices and industrial processes such as fashion. Questioning the encounter between audiovisual media and fashion brings an elective affinity to light. If fashion is central to cinema and television and gives rise to a wide range of new genres and formats, it also impacts on the forms of representation and expression of identity and the body via personal and social media, according to the prevailing customs and tastes of our place and time. This encounter is a terrain of experimentation with new trends in the media experience – ones that rely on performativity and the enhancement of the viewer/user’s agency. After all, audiovisual media are similarly about constructing a fictional (and entertaining) world and actively and creatively inhabiting it as an essential part of the actual world.

When visiting the Mona Lisa in the Louvre, a new phenomenon arises. Where it used to be crowded with people facing the picture to have a glance at the famous Leonardo da Vinci painting, nowadays a significant number of visitors have their backs to it. They are taking selfies 1 of themselves with the Mona Lisa. This phenomenon where museum visitors are taking photographs of themselves with pieces of art does not only occur at the Louvre, but people are taking selfies in museums all over the world. The popularity of taking photographs in museums has even led to a change in the photography policies of several museums, which now effectively create conditions to encourage selfie taking (Hromack 2014).

Basińska, A., Łuczak, M. J. (2014). Konstrukcja sieci społecznych. Komunikacja w nowych mediach na przykładzie forum internetowego. W: J. Bierówka, K. Pokorna-Ignatowicz (red.), Media – kultura popularna – polityka. Wzajemne oddziaływania i nowe zjawiska (ss. 181-198). Kraków: AFM

The main aim of this paper is an analysis of the construction of social networks based on chosen discussion forums on the Internet. The key issues are: social networks' character, participant/users motivation, communication rules and permanence of these networks. Methodology: In this research we used qualitative methodology (qualitative content analysis of users statements). The character of networks was described by statements of users constructing and reconstructing social networks on the Internet. Results: This research strategy enables treating our paper as part of discussion about the changes of form and character of social relations in our times. These changes are a result of slackening of traditional ties according to B. Wellman. Besides these changes are also a result of developing the network society referring to the concept by M. Castells, in which communication forms and also character of interpersonal ties are determined by information technology.

Talking politics online is not exclusively reserved for those spaces dedicated to politics, particularly the everyday political talk crucial to the public sphere. However, past net-based public sphere research has focused mostly on political spaces thereby neglecting an array of other genres. The aim of this article is to move beyond politically oriented communicative spaces by investigating political talk within the British reality TV discussion forum Wife Swap. The purpose is to see whether a forum dedicated to reality TV provides the communicative space, content, and style for politics that extends the public sphere. The central question is whether it fulfils the requirements of rationality and ‘decent’ deliberation. Moreover, the analysis moved beyond a formal notion by investigating how expressives influence the more traditional elements of deliberation. The findings revealed that Wife Swap participants engaged in political talk that was often deliberative. Moreover, it was a space where the use of expressives played a key role in enhancing such talk.

As we progress into the digital age, text is experiencing a resurgence and reshaping as blogging, tweeting and phone messaging establish new textual forms and frameworks. At the same time, an intrusive layer of text, obviously added in post, has started to feature on mainstream screen media-from the running subtitles of TV news broadcasts to the creative portrayals of mobile phone texting on film and TV dramas. In this paper, I examine the free-floating text used in BBC series Sherlock (2010-). While commentators laud this series for the novel way it integrates text into its narrative, aesthetic and characterisation, it requires eye tracking to unpack the cognitive implications involved. Through recourse to eye tracking data on image and textual processing, I revisit distinctions between reading and viewing, attraction and distraction, while addressing a range of issues relating to eye bias, media access and multimodal redundancy effects. Link: https://refractory-journal.com/dwyer/

Esta tese de doutorado coloca em questão os autorretratos digitais comumente nomeados enquanto “selfies” como práticas que revelam diferentes modos de experimentação cotidiana. O objetivo principal, portanto, é seguir a experiência relacionada à produção de fotografias digitais chamadas selfies. O direcionamento para a pesquisa não está na investigação do caráter imagético da selfie, ou na exploração de redes sociotécnicas associadas ao dispositivo fotográfico, mas em sua constituição enquanto prática – cotidiana, situada e em constante transformação através da experiência. A partir de um diálogo com o empirismo radical de William James, apresenta-se o problema em termos de suas consequências práticas: O que constitui, em termos práticos, fazer uma selfie? Quais as diferenças localizadas produzidas ao se pensar na selfie não como um tipo de imagem, mas como uma prática? Ou seja: através de quais processos a prática de selfie se constrói em um cotidiano fotográfico? São essas questões, conjuntamente com uma proposta de seguir a experiência, que guiam a construção de uma investigação realizada enquanto uma etnografia diante da prática de selfie. Dessa forma, traça- se um modo de seguir a experiência que se desenvolve no rastreamento das diferenças práticas, em um caráter processual de propagação e conexão a partir de novas experiências, e na constituição de um trajeto a ser seguido. O ponto de partida para a investigação localiza-se em uma praça, na qual começa-se a observar e interagir – considerando os espaços geográficos e digitais como um contínuo ambiente de observação – com diferentes práticas de selfie. A partir dessas primeiras observações, as possibilidades de novos caminhos passam a ser delineados, e começa-se a acompanhar o cotidiano fotográfico de diferentes pessoas que se tornam, aos poucos, personagens etnográficos. Essa trajetória, de seguir a experiência conjuntamente com os personagens, demonstra uma prática de selfie que se constrói nas diferenciações cotidianas e modos de experimentação que passam pelas maneiras através das quais se desenvolvem: negociações entre vergonha e visibilidade; co-construção de práticas através de performatividades algorítmicas; possibilidades conversacionais em práticas material- discursivas; e modulações da intimidade em experiências afetivas. Aponta-se, ainda, que esses modos são transpassados por um trajeto de aprendizagem de relatar a si mesmo, através do qual a selfie vai se constituindo enquanto prática. É nesse sentido, em conjunto com as particularidades da prática cotidiana de selfie apresentadas em cada capítulo, que se propõe (e experimenta-se) uma tomada de posição investigativa baseada na experiência – e, através dela, argumenta-se e chama-se atenção para a necessidade de aprender a articular modos possíveis para segui-la levando em consideração as produções de diferença práticas.

Baetens, Jan, Ortwin de Graef and Silvana Mandolessi. Digital reason: A Guide to Meaning, Medium, Community in a Modern World. Leuven: Leuven University Press, 2020

The digital revolution has changed our ways of thinking, working, writing, and living together. In this book the authors critically analyse the ways in which these new technologies have reshaped our world in numerous respects, ranging from politics, ideology, and philosophy over art and communication to memory and identity. The book challenges the customary view of a divide between analogue and digital culture, claiming instead that human endeavour has always been characterised by certain forms and aspects of digital thinking, building, and communicating, and that essential parts of analog culture are still being reshaped by new digital technologies. It offers a multidisciplinary approach to digital reason, reflecting the diversity of humanities scholarship and its fundamental contribution to the ongoing changes in our current and future thinking and doing.

The paper deals with the influence of digital environment-digital media, in particular television and the Internet as the most influential mass media, on children through different cultural, social, educational and behavioral aspects. It analyzes the changes that information revolution and digital mass media brought to the society in terms of changes in patterns of behavior, new ways of creating personal identity through the patterns imposed by television and the Internet. The paper also represents the main educational and behavioral aspects of television and the Internet, especially e-learning; the implications and aspects of using smart mobile phone, and the concept of m-learning. In addition authors analyzed the advantages and risks mentioned returns, and they give their overview and proposals for developing e-learning and m-learning as concepts.

Key words: Internet, television, pedagogical, educational, behavior, identity, e-learning, m-learning

In questo volume vengono esposte in maniera organica e quanto più completa possibile le tecniche che, anche se non nate propriamente per la SAR, sono state utilizzate nel settore con ottimi risultati. I temi trattati hanno come filo conduttore il loro utilizzo per progettare l'edutainment, consentendo così di avere un potente strumento di comunicazione plasmabile su ogni tipo di superficie. Ciò implica una grande responsabilità in termini di messaggio, qualità e scientificità finali, soprattutto quando ad essere cinvolto è il bene culturale. Video proiettare significa comunicare ma è ovvio che per farlo correttamente è necessario conoscere gli strumenti che abbiamo a disposizione così da averne chiari i relativi limiti e potenzialità. A tal proposito il libro vuole essere una sorta di laboratorio dal quale il lettore possa far proprie le esperienze dell'autore, attingere nozioni e approfondire argomenti. Un laboratorio che ponga delle solide basi per poi progettare il proprio intervento. Effetti video, stereoscopia, HP Reveal, Resolume Arena 6, MadMapper, controller esterni, la proposizione di un visore pseudo-olografico ed infine la stampa 3D sono alcuni dei temi trattati. Infine, visto che il successo di un'installazione multimediale non può prescindere dalla progettazione del suono, uno specifico capitolo su questo tema è stato curato dal sound designer Luca Canciello che introdurrà il lettore nell’affascinante mondo del Sound Design.

This paper presents a new situation in terms of human relations. Nowadays, the new technology changes our way of communicating and relating. UAICCrush is a Facebook page which exemplifies this kind of situation. Our research analysed the exchange of messages through this page. As a result, we developed a typology of the Internet users who send messages in order to be published on the page (the dreamer, the undecided, the sarcastic, the charming, the detached and the pragmatic). Also, we established a quantitative description of the page activity during the analysed period. This (micro)research opens future directions for scientists interested in the effects of virtual interactions between people.

Black Mirror's "Hang the DJ:" On Love in Algorithmic Embodiment. My paper discusses the episode titled "Hang the DJ" (2017) of Netflix-produced show Black Mirror, which tackles the highly computed experiences of romantic love. Rather than analyzing it as representative of current dating experiences within the regimes of digitization and datafication, I focus on how the episode's approach to these themes engages in ontological reflection about digital technologies, thus aligning with recent speculative philosophy and critical media theory scholarship. This ontological reflection comes with the episode's attempt to represent the algorithmic calculation itself, which I'll refer to here as "algorithmic embodiment." This algorithmic embodiment, I argue, grapples with knowledge-production of computational systems in order to, on the one hand, rethink the agency of digital technologies that decenter the human (which I'll tackle in the first part of my paper), and on the other, lead us, hopefully, to an alternative approach to understanding love in our neoliberal context (which I'll address at the end).

The internet has emerged as an important space for the creation and dissemination of gothic and horror media, particularly in the form of memes. Located at the intersection of digital culture and folklore, some horror memes remain relatively isolated within particular online communities, while others have attained greater attention in mainstream media. This chapter provides an overview of several exemplary memes (the Rake, Jeff the Killer, the SCP Foundation, Smile.jpg, the Russian Sleep Experiment, and Slender Man) and discusses how these memes reveal significant characteristics of digital culture and space.

Spectacular Posthumanism examines the ways in which VFX imagery fantasizes about digital disembodiment while simultaneously reasserting the importance of the lived body. Analyzing a wide range of case studies-including the films of David Cronenberg and Stanley Kubrick, image technologies such as performance capture and crowd simulation, Game of Thrones, Terminator: Genisys, Planet Earth, and 300-Ayers builds on Miriam Hansen's concept of “vernacular modernism” to argue that the “vernacular posthumanism” of these media objects has a phenomenological impact on viewers. As classical Hollywood cinema initiated viewers into the experience of modernism, so too does the VFX image initiate viewers into digital, posthuman modes of thinking and being. Ayers's innovative close-reading of popular, mass-market media objects reveals the complex ways that these popular media struggle to make sense of humanity's place within the contemporary world. Spectacular Posthumanism argues that special and visual effects images produce a digital, posthuman vernacular, one which generates competing fantasies about the utopian and dystopian potential of a nonhuman future. As humanity grapples with such heady issues as catastrophic climate change, threats of anonymous cyber warfare, an increasing reliance on autonomous computing systems, genetic manipulation of both humans and nonhumans, and the promise of technologically enhanced bodies, the anxieties related to these issues register in popular culture. Through the process of compositing humans and nonhumans into a seemingly seamless whole, digital images visualize a utopian fantasy in which flesh and information might easily coexist and cohabitate with each other. These images, however, also exhibit the dystopic anxieties that develop around this fantasy. Relevant to our contemporary moment, Spectacular Posthumanism both diagnoses and offers a critique of this fantasy, arguing that this posthuman imagination overlooks the importance of embodiment and lived experience. Publisher Website: https://www.bloomsbury.com/us/spectacular-posthumanism-9781501340086/ Preview: https://bloomsburycp3.codemantra.com/viewer/5ca77cd25f15030001900ebb

Questa tesi tratta della percezione del tempo nella cultura digitale. Questa verrà colta nella forma dell’atemporalità, intesa come sradicamento dalla storia e perdeita delle relazioni passato-presente-futuro. L'analisi del movimento estetico-musicale della Vaporwave, inquadrato nel suo contesto culturale di riferimento più ampio, consente di mostrare, infatti, la fondamentale atemporalità dell’esperienza nella contemporanea rete globale.

In Transmitted Wounds, Amit Pinchevski explores the ways media technology and logic shape the social life of trauma both clinically and culturally. Bringing media theory to bear on trauma theory, Pinchevski reveals the technical operations that inform the conception and experience of traumatic impact and memory. He offers a bold thesis about the deep association of media and trauma: media bear witness to the human failure to bear witness, making the traumatic technologically transmissible and reproducible.

Taking up a number of case studies--the radio broadcasts of the Eichmann trial; the videotaping of Holocaust testimonies; recent psychiatric debates about trauma through media following the 9/11 attacks; current controversy surrounding drone operators' post-trauma; and digital platforms of algorithmic-holographic witnessing and virtual reality exposure therapy for PTSD--Pinchevski demonstrates how the technological mediation of trauma feeds into the traumatic condition itself. The result is a novel understanding of media as constituting the material conditions for trauma to appear as something that cannot be fully approached and yet somehow must be.

While drawing on contemporary materialist media theory, especially the work of Friedrich Kittler and his followers, Pinchevski goes beyond the anti-humanistic tendency characterizing the materialist approach, discovering media as bearing out the human vulnerability epitomized in trauma, and finding therein a basis for moral concern in the face of violence and atrocity. Transmitted Wounds unfolds the ethical and political stakes involved in the technological transmission of mental wounds across clinical, literary, and cultural contexts.

Uvodna reč

Kada sam počela da radim na tekstu ove studije, 2017. godine, podkast
tržište je bilo mnogo manje – i u programskom, i u finansijskom smislu – ali, moglo se naslutiti da u njemu leži krupan kreativni i ekonomski potencijal.
Već tada je bilo izvesno da ovaj format ima snagu da uspostavlja nove obrasce ponašanja publike, da menja medijsku industriju i postane dragocen alat, kanal, platforma za ubedljivo, zavodljivo i uticajno pričanje priča – bilo da su one inspirisane dnevnim vestima, politikom, kulturom, društvom ili izmišljenim događajima.
Podkast je na medijsko tržište doneo sve ono što je radio, posebno komercijalni, širom sveta počeo da gubi godinama unazad – autentičnost, relevantnost, kredibilitet, poverenje i povratak autentičnim, snažnim autorima.
Podkast je ponovo vratio u fokus glas, sadržaj, istraživanje. Ipak, podkast nije (samo) ekstenzija radijske emisije u onlajn prostor. Podkast postoji i razvija se kao nov, samostalan medijski format, uspostavljajući svoja pravila naracije, produkcije, komunikacije sa publikom i ostvarivanja održivosti.
Tokom rada na tekstu, podkast tržište je doživelo značajnu ekspanziju,
globalno i lokalno. Podkast je privukao pažnju velikih medijskih kompanija
i pokazao svoje komercijalne kapacitete, ali je nastavio i da nepokolebljivo
istrajava u polju nezavisnih, samostalnih projekata i društvenog i kulturnog
aktivizma. Čini se da je danas, nakon petnaestak godina postojanja, podkast pronašao svoje mesto u savremenom medijskom okruženju, afirmišući inovativnost, fleksibilnost i originalnost kao ključne principe produkcije, distribucije i monetizacije medijskog sadržaja u eri digitalizacije.
Dinamičan, brz rast i razvoj podkast tržišta ispisuju nova pravila dobre
prakse iz dana u dan. Zato bi tekst koji je pred vama trebalo shvatiti kao
presek podkast tržišta u trenutku u kome je nastajao, zaokružujući priču o
ovom uzbudljivom formatu tokom proleća 2020. godine. Ovaj tekst za cilj ima postavljanje osnove za buduća istraživanja, želju da novim slušaocima i producentima pomogne u razumevanju porekla i dosadašnjeg razvoja podkasta kao medijskog formata i mapiranje trenutnih odnosa na tržištu, dostupnih vrsta sadržaja i primera dobrih praksi upravljanja.
Verujem da će podkast biti neophodan i nezamenljiv podsticaj budućem
razvoju medija kod nas, te da će nam ovaj format donositi priče, stavove
i otkrića koja ne možemo da nađemo na drugom mestu. U tome je njegova
vrednost, jedinstvenost i snaga – u glasu, u pitanju i odgovoru, u istraživanju i razotkrivanju svega što nas okružuje.

The purpose of the paper is to identify some converging lines that appear increasingly strong in the relationship between digital media and contemporary art. A convergence that was widely anticipated (in the Twentieth Century avant-garde movement in general, and especially in its conceptual trends). The paper will give a quick overview of how digital media are offering a new conceptual and operational scenario, reconfiguring on the one hand the expectations of individuals and institutions about digital tools, and on the other offering the artists new opportunities to elaborate their expressiveness and experimental creativity.

Abstract: The English title of a recent book by renowned film scholar Yomota Inuhiko
reads: What is Japanese Cinema?. In the preface to the English edition Yomota states that
the direction we might take, should we try to provide an answer to the question, changes
according to which word, «Japanese» or «Cinema» we choose to emphasize. When his
survey reaches the recent past, the Japanese scholar describes the 2000s as «an era of
chaos». Starting from these questions and affirmations, and combining them with others
made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman
and Mori Naoyuki, the following article attempts to explore a more specific doubt: what is
contemporary Japanese cinema? In so doing, however, other questions arise, as we need
to define when contemporaneity starts and what makes it different both from previous
eras, and from the contemporaneity of other national cinemas. The further we probe, the
more complex our definition becomes.
Keywords: contemporary Japanese cinema; Japanese film theory; visual culture, digital culture.
要旨:『What is Japanese Cinema?』（日本映画とは何か）とは、著名な映画史研究者、四方田犬彦
の最新のエッセイの英訳版のタイトルである。四方 田はその序文で、「Japanese」という言葉に重
きを置くか、「Cinema」という言葉に重きを置くかによって、疑問に対する答えを導くであろう探究
の方向性が変わってくるのではないかと述べている。現代映画の研究に至り、四方田は、2000年
代を混沌の時代と定義している。こういった問いや断言から出発し、他の研究者たちの疑問と絡
み合わせながら、本稿では、「現代日本映画とは何か」という更に具体的な疑問に対する答えを求
めようとしている。ただし、そのための様々な疑問が生じる。まず、日本映画の現代性がいつから
始まるのか、それまでの日本映画の時代とは何が異なるのか、また、他の国の映画の現代性とは何
が異なるのかを明確にする必要がある。しかし、話題を深く掘り下げれば掘り下げるほど、その定
義は拡大し、とらえどころのない話題になっていく。
キーワード: 現代日本映画、日本映画論、ビジュアル文化、デジタル文化.

The huge success of the television series Black Mirror has radically changed the already rich landscape of televised seriality. Since the very first episode it has imposed itself as a radical turning point in the TV series offer, both in terms of quality and ability to animate debate, also triggering fandom phenomena within the increasingly inter-connected medial ecosystem experienced by users. The TV-series appears, as a whole, as one of the most acute and convincing metaphors to describe and explain the impact of ‘new’ technologies on contemporary societies, the functioning of the current media ecosystem and their impact on the culture and political dynamics of post-democratic societies.
Although the series is apparently set in a next, imprecise future, it actually talks about ongoing processes, radicalizing its criticism through the use of fictional language. As Sculos (2017) notes, Black Mirror is not a mere allegory of the future, but a compelling metaphor of current-time dystopias. Taking up a well-known subject of the ‘Dialectic of Enlightenment’ (Horkheimer and Adorno, 1966), the author suggests a fundamental key to interpret present: the ‘real’ theme of the series is the new and unprecedented forms by which technology is making us slaves. As it promises to get us free from fatigue and enslavement of capitalism, at the same time it makes us increasingly dependent and vulnerable.

There is no sport without television. Television has become vital to the existence and sustenance of all sport, including cricket. This paper focuses on the broadcast technologies of television and the manner in which they have influenced the sport of cricket (specifically the Indian Premier League), the cricketer and the spectator. With the growing use of second and third screen devices, the idea of sport has become entrenched in a world of information and communication technologies. Televised cricket (and indeed all sport) provides a great channel for marketing, and also provides the stars of the game an enormous opportunity for individual celebrity, allowing it to become a most useful platform for promotion and advertising for several, sometimes unrelated, stakeholders.

Today, engagement and participation are considered key when we investigate media and user practices. Participation has become a popular imperative of digital societies. A number of theoretical reflections on digital societies assume that social media are becoming a dominant media channel for participatory engagement.
Practices of participation and engagement are an indispensible part of our digital everyday lives: from chat rooms to community forums, from social media platforms to image boards, and from rating platforms to whistle-blowing websites. The Internet is used for a wide variety of forms of participation in culture, education, health, business and politics. On the one hand these digital collectives are deemed the torchbearers of the coming social and political transformation or hailed as self-organized collective intelligence. On the other hand state appa- ratuses are asking for participative activities to increase efficiency and to avoid friction. It is argued that the use of technology fosters participation and processes of consensus-building.
The terms “cultural citizenship” and “digital citizenship” are expected to provide a broader but also a more critical approach to citizen engage- ment. In the meantime, there are numerous studies that examine the different forms and effects of participation on the Internet and its limitations. Our special issue "Digital Citizens" discusses theoretical and artistic investigations on citizen engagement, digital citizenship and grassroots information politics. The articles reflect on the role of the digital citizen from the perspectives of (digital) sociology, science, technology and society (STS), (digital) media studies, cultural studies, political sciences, and philosophy.

Esta pesquisa parte do surgimento, retomada e revitalização de laboratórios de mídia em todo o mundo (PLOHMAN; BUTCHER, 2010; SALAVERRÍA, 2015; TANAKA, 2011) para investigar a inovação midiática, particularmente a jornalística, em contexto experimental. Para tanto, endereça os seguintes problemas de pesquisa: qual o contexto de emergência e as características dos media labs focados em mídia e/ou jornalismo?; quais as premissas dos processos de inovação destes laboratórios?; quais as características da inovação em mídia e/ou jornalismo em contexto experimental a partir da percepção dos líderes destes media labs?; e finalmente, quais as características da inovação em mídia, particularmente às relacionadas à indústria do jornalismo, em contexto experimental a partir destes laboratórios? Autores como Lavine and Wackman (1988), Fergusson (1991), Lindmark et al., (2013), Storsul e Krumsvik (2013) e Dogruel (2013; 2014; 2015) contribuem com particularidades já mapeadas da inovação midiática e jornalística. A relação com o jornalismo tem como base autores como Deuze (2008), Boczkowski (2005), Salaverría (2015), García-Avilés et al., (2019) e Posetti (2018). Do ponto de vista empírico, esta investigação parte da construção de um banco de dados de media labs, de questionário com líderes destes laboratórios e da análise documental de seus projetos. Esta pesquisa foi realizada em colaboração com a World Association of Newspapers and News Publishers (WAN-IFRA), através do Global Alliance for Media Innovation (GAMI) e identificou 123 laboratórios ativos com predominância na América Latina, América do Norte e Europa. Ainda, contou com a participação de 54 líderes de media labs, de 15 países. Como resultado, a tese propõe a emergência de quatro tipos de inovação midiáticas: (1) Inovação Criativa: essencialmente criativa-intelectual, impactando exclusivamente o conteúdo/narrativa jornalística e consumo; (2) Inovação reflexiva: organizacional ou de processo sem mediação tecnológica; (3) Inovação exploratória:
apropriação de tecnologias para produção, distribuição e/ou consumo, e (4) Inovação Generativa: desenvolvimento e implementação de inovação funcional para produção, distribuição e/ou consumo. Ainda, defende que a inovação midiática, particularmente a jornalística, demanda eixos específicos de análise que partem de cinco dimensões: (1) pressupostos da inovação, (2) iniciativa inovadora, (3) cultura organizacional e estrutura (4) apropriação da inovação e (5) contribuição/resultados.

Ο προσδιορισμός των σημερινών αισθητικών τάσεων στη μουσική τέχνη, αλλά και της επίδρασης των μέσων που χρησιμοποιούνται για την παραγωγή μουσικών έργων είναι ένα εγχείρημα περίπλοκο και αβέβαιο. Ήδη, από τις αρχές του προηγούμενου αιώνα, η γλώσσα γραφής και εκτέλεσης της μουσικής πέρασε από ένα στάδιο σφοδρής κριτικής από τους ίδιους τους συνθέτες, στις υπεραισιόδοξες μεταπολεμικές καινοτομίες, για να φτάσει σήμερα σε μια πληθώρα υβριδικών μορφωμάτων με εξαιρετικό ενδιαφέρον αλλά, συχνά, βραχύβια ζωή. Θεμελιώδη ερωτήματα όπως το τί είναι, πώς παράγεται και ποια χρησιμότητα έχει ένα έργο τέχνης είναι πολύ πιο δύσκολο να απαντηθούν σήμερα από ό,τι σε όλους τους προηγούμενους αιώνες. Μπορεί κανείς να αναζητήσει πολλές και διαφορετικές αιτίες για τις παραπάνω επισημάνσεις. Η ραγδαία εξέλιξη της ψηφιακής τεχνολογίας είναι σίγουρα μια από τις πιο σημαντικές.

This dissertation analyses the idea that videogames can be considered art in order to argue that wide-ranging benefits could be seen if the institution recognised them as such. I have explored the idea that the institution is the key to progress the notion of videogames as art and both art museums and universities alike must be behind the progression of what is considered the artistic canon in order to create new opportunities in the field of making art.

I have reviewed popular arguments for and against the inclusion of videogames in the institutional artistic canon and then considered videogames in the light of several theorist's ideas of what art is. Primarily I have looked at the ideas behind cluster theory and the theory of mass art as a way of justifying videogames as art. I have followed this with case studies of This War of Mine (2014) and the developer Sam Barlow who has produced many videogames including Aisle (1999), Silent Hill: Shattered Memories (2009), and Her Story (2015).

Lastly, I have considered what might be the long-term benefits of classifying videogames as art within the institution, primarily the enfranchisement of young women artists. I do this by reviewing the new National Curriculum in computer programming and considering how, in the light of Virginia Woolf's A Room of One's Own, this new education area will empower young women to be able to create art despite pressures that still persist with regards to the "proper" role of a woman in our society. It is my suggestion that all you need to create a work of videogame art is a basic computer, a standard UK education, and a room of your own - but only if the art institution recognises videogames as a legitimate form of art.

Las cuestiones de comunicación ética en internet y en sus redes sociales son un tema de gran controversia en la actualidad debido a que de forma directa o indirecta implican a toda la sociedad y a la constantemente emergente cultura digital universal. Las prácticas comunicativas éticas en la cultura digital, donde la comunicación interactiva interpersonal digital lidera, dependen mucho de la construcción de las identidades virtuales que los ciudadanos de la sociedad digital desarrollan en las redes sociales. Hay cuestiones éticas en la comunicación interactiva digital sobre las que es fundamental reflexionar profesional y científicamente para poder ir dando respuesta a las cuestiones sobre las mejores prácticas comunicativas éticas. Para ello hay que basarse en las leyes que establecen los derechos y las obligaciones de los usuarios en la red para evitar el uso indebido de contenidos protegidos por la propiedad intelectual, la evitación de la suplantación de identidades, el asegurar la diversidad de perspectivas y de la veracidad de los hechos descritos en las redes, la legislación de las prácticas comunicativas, y en definitiva afianzar las dinámicas y las formas de comunicación ética y no violenta que faciliten el acercamiento socio-cultural en un espacio digital local y global. En conclusión, este capítulo revisa, estudia, describe y contrasta varios conceptos importantes para entender la comunicación ética en relación con las identidades virtuales en las redes sociales.

The term “new media art” covers numerous, diverse phenomena with their own specific properties. I will present these properties in the following discourse. The diversity within this field sometimes leads to attempts at defining new media art by juxtaposing its numerous types. However, such a definition renders the term meaningless, yielding in essence merely a collective term encompassing a variety of individually defined types. Moreover, it fails to provide criteria that would indicate the reasons for considering these particular types to be forms of new media art. This term should, therefore, not be defined in reference to individual media or a juxtapositioning of a number of them, but by indicating what unites them and makes them types of new media art. This requires identifying the properties that make new media “new”, that is, different from previous dominant media. The field of new media art remains unstable, constantly in a process of transformation. This is so not merely because of the emergence of new and different types of media, but also because of the transformations constantly taking place in the multidirectional relations between them, including those resulting from processes such as technological convergence, divergence, and remediation, which shape different media configurations and produce hybrid forms. At the same time, however, this fact does not mean we are dealing with a process of substitution, that newer media merely supplant those that preceded them in time and assume their position and status, thereby becoming “newer” new media. On the contrary, within certain limits defined by their properties, newer media join older forms, thus expanding the overall field of new media and deepening its internal differentiation. This is precisely what has occurred in new media art, whose individual types, although seemingly rooted in the characteristics of the new media that gave birth to them, in fact, have acquired their own character and status in relation to the overall new media environment.
The category of new media art came into general use in the mid-1990s (Tribe, Jana, 2006, 7). The forms of artistic activity associated with it, whose beginnings I trace back to the 1950s in the development of cybernetic and oscilloscope art, and in the academic and critical studies that followed these transformations in art, have their own, even longer history. The theoretical approaches to new media art developed by scholars and critics feature a relevant concepts and terminology (Burnham, 1968; Reichardt, 1971; Nake, 1974; Popper, 1975; Druckrey, 1996; Sommerer, Mignonneau, 1998; Manovich, 2001; Wilson, 2002; Tribe, Jana, 2006; Shanken, 2009), proposals for a historical ordering (Youngblood, 1970; Rush, 1999; Grau, 2003; Frieling, Daniels, 2004; Wands, 2006; Grau, 2007; Cubitt, Thomas, 2013), and monographic studies dedicated to numerous trends in and types of new media art (Franke, 1971; Kahn, 1999; Goldberg, 2000; Weibel, 2001; Ascott, 2003; Paul, 2003; Green, 2004; Kac, 2005; Dixon, Smith, 2007; Raley, 2009; Menkman, 2011). Many books on the work of selected artists and analyses of individual works have also been published. In conjunction with the development of new media art and scholarly reflection on it, a number of university courses and programmes in art colleges were established. An institutional and exhibition system also developed, supporting the production and presentation of works and the realisation of artistic and research projects (such as Ars Electronica Center, Linz; ZKM ‒ Media Art Center, Karlsruhe; InterCommunication Center, Tokyo). The first new media art exhibitions were held (Cybernetic Serendipity, 1968; Software, 1970), and new media art magazines (such as Leonardo, Neural, Artnodes), internet sites (such as Rhizome; Netzspannung.org; ADA: Archive of Digital Art) and festivals (such as Ars Electronica, Linz; European Media Art Festival, Osnabrück; Multimediale, Karlsruhe or Transmediale, Berlin) emerged. New media art thereby acquired a full-fledged institutional framework.
In the following paragraphs, I will analyse the concept and multiform phenomenon of new media art on four levels.
I will first consider it in terms of the interaction between art theory and the related conceptual understanding of this medium as an artistic discipline and a material; and media theory, and its approach to the medium as a technical means of communication. In doing so, I will make an effort to avoid privileging either of these two contexts, and explain why a definitional balance and consensus should be sought instead.
Secondly, I will point out and analyse the properties that characterise new media and new media art, and the consequences of trying to define them by assigning them a set of defining characteristics. In doing so, I will draw attention in particular to the possibilities that emerge from defining new media and new media art without placing them on a historical timeline.
Thirdly, I will provide both an overview of the history of new media art and examine the complexity and multiplicity of its types, revealing their diverse status.
Fourthly, I will highlight three basic factors of new media art: newmediality ‒ referring to the “technical-new media” properties of new media art that emerged as a result of the introduction of new technical means of communication into the field of art as tools for creative work; transmediality ‒ referring to the interaction between new and traditional media, whereby art utilising old and new technical means enter into a meaningful relationship or are even integrated into traditional fields of art, creating transmedial forms; and transdisciplinarity ‒ referring to the relations between artistic new-media and transmedia disciplines and other, non-artistic disciplines of social practice, such as science, the humanities, politics and social activism. These relationships result in the construction of transdisciplinary artistic forms.
I will also explain how changes in the hierarchy among these three factors have over time shaped new media art history. I will construct my position both through the use of and in discussion with a number of concepts found in new media art theory.

This article connects the main concepts of transmedia narratives developed by interactive digital storytelling researchers such as Kinder, Jenkins, Murray, Mateas, Bruni y Baceviciute… in order to generate an innovative methodology in the analysis of transmedia narratives and to apply it on an extended study of the Batman‟s Universe. The main materials used during this research are composed of 15 media, including videogames, comic-books, movies and toys, all accessed through Christopher Nolan‟s The Dark Knight movie trilogy, investing more than 1000 hours of media lab research. The results show the mechanisms of how intertextual coherence is developed by Nolan between narratives across media, all thanks to regenerate logical and detail links between the different characters, actions, times and spaces. The conclusions describe the importance of developing a deep research, on the pre-existent cross media narratives designed by previous authors around the Dark Knight, and an original narrative remix in order to create the media narrative convergence, while updating the narrative contents and aesthetics, and while consolidating the interactive linear transmedia narrative that renew the meaning of that universe.

Discourse analysts have worked on digital data for decades now (see Herring, 1999; Thurlow & Mroczek 2011), initially treating digital data as human texts (Blitvich & Bou-Franch, 2018), then increasingly as human, multimodal interaction mediated through digital media (Androutsopoulous, 2015), also attending to digital platforms and their affordances in ethnographically inspired discourse analyses (

Violence in video games has been a controversial object of public discourse for several decades. The question of what kind of emotional experiences players enact when playing with representations of physical violence in games has been largely ignored however. Building upon an extensive ethnographic study of players' emotional practices in video games, including participant observation in online games, qualitative interviews, an analysis of YouTube videos and gaming magazines since the 1980s, this Element provides new insights into the complexity and diversity of player experiences and the pleasures of playful virtual violence. Instead of either defending or condemning the players, it contributes foundational, unprejudiced knowledge for a societal and academic debate on a critical aspect of video gaming. This title is also available as Open Access on Cambridge Core. https://www.cambridge.org/core/elements/playful-virtual-violence/63DD65C910C0768E1BAE2F3ECDC1E424