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The development of communication technology has changed the pattern of communication interaction, especially in political communication. The changing form of political campaigns and the formation of public opinion through social media, especially in political elections in Indonesia, are two of these shifts. Political socialisation and campaigns that used to be conventional have now altered by utilising new media technology. In this article, I will discuss how political buzzers use algorithms to influence public opinion to maintain political voices. The algorithm is one form of a new order in the social and technological sphere. David Beer says in the article, “The Social Power of Algorithms”, that we can find rationality, create knowledge and influence broader norms through the concept of algorithms. The algorithm holds a strong and convincing influence in predicting the performed behavior with this concept. In this paper, I will conduct a literature study on how political buzzers use algorithms to lead public opinion in socialisation and political campaigns in Indonesia. Both a qualitative approach and a literature review will be used. It can be concluded that the buzzer uses the algorithm of internet users to form public opinion. The use of algorithms can also lead to a manipulation of facts, which results in users continuing to consume hoax information.

Site-specific continues to be a recognizable descriptor that, when applied to performance, codes for a (potentially) culturally transgressive and aesthetically transformative work that relies on the physical co-presence of non-theatrical site and spectator to produce its effects. Digital and networked technologies, however, destabilize site as a physical concept, expanding the ways in which performance might relate to both virtual and actual environments. In this dissertation, I investigate site-specific performance’s contemporary identity crisis. As the disciplinary frameworks of site, specificity, and performance each expand, affected by the influx of virtual and mediatized interventions, staging practices evolve along with them. The integration of new media forms in performance creates new possibilities for aesthetic and spectatorial experiences. Media technologies like virtual reality systems, interactive gaming interfaces, and live Tweeting alter sensory perception and remediate theatrical experience for a user-spectator who might experience multiple, simultaneous places of performance. I examine the ways in which these technologically-altered spatial experiences in performance reclaim a specificity purported to be lost. Considering the virtual as site-specific challenges narratives of technological determinism that relegate digitality to realms of disembodiment and distraction. I demonstrate that our digital age is not an age of spatial ambiguity but an opportunity to consider expanded forms of spatial specificity in performance. I explore practices which mix the spatial realities of the spectators by combining, in one form or another, physical and virtual components across multiple spaces, either simultaneously or in archive. These forms mix the experience of a physical environment with that of imagined metaphor, reorient the maps of spectator and performer, displace performances into multiple sites, and dismantle disciplinary binaries of liveness and presence. I present challenges to the conventional disciplinary frameworks that assume a version of liveness and presence that is predicated on physicality. These challenges demonstrate performance’s capacity to extend ways of “being there” without physically being there, reshaping numerous spatial axes of exclusion that include race, class, gender, and physical ability. With the transformations and disruptions involved in making the virtual site-specific, contemporary works reawaken critical analysis of habitual functions of space, shedding light on the intersections of spatial politics and embodiment.

Free, online games tailored specifically for girls have carved out a burgeoning niche in a marketplace that has traditionally catered to the interests of boys. However, girls’ games may have a nega...

In contrast to traditional media studies, new media studies examine digital media as an interactional network organization. It also includes communication and media practices associated with information and communication technologies. As the participant plays a role in reproducing and reconstructing the text in the new media, cooperation between the participants is enabled. Social media networks, one of the most important communication tools of new media, are platforms in which people establish relationships and carry out their connections remotely, without any limits, and where they are able to increase their selective affinity tendency. Digital environments, where a culture of convergence is formed by creating non-anonymous profiles of people like Facebook and creating an environment of mutual consensus, give people the opportunity to build a common identity. The position of translation practices in new media is also a projection of the participatory sharing culture. The aim of this study is to make inferences with netnographic analysis through the digital environment translation practices of Bulgarian Turks in a digital environment. The study focused on a Facebook group for Turkish migrants in Bulgaria. The group members are adept at navigating at least two countries, languages, religions, and cultures, and these elements transform fluidly within each other. The study yielded uninterpreted data about their cultural interactions and transfers based on the digital traces of the participants via a netnographic method. It also aimed to present the translation practices of the specified group in a digital environment with a netnographical analysis, with an examination of Henry Jenkin’s convergence culture and participatory culture concepts in network society.

Background and Purpose: This article analyses the 1Malaysia Development Bhd (1MDB) political scandal as a case study to examine how an issue is discursively shaped online by netizens’ perceptions of the scandal. The study has two objectives: firstly, to explore netizens’ perceptions of 1MDB and how they reacted to the news reported based on the online exposés appearing throughout 2015. Secondly, it aims to examine whether the discourse regarding 1MDB among netizens on an online platform, The Malaysian Insider Facebook page, meets the characteristics of a practical discourse in an online context, as proposed by Jurgen Habermas. Methodology: A total of 1950 Facebook comments related to 210 1MDB articles in 2015 were analysed. The articles were linked and published by The Malaysia Insider Facebook page. The analysis was conducted using thematic analysis via NVivo software to explore the perceptions of the selected netizens about 1MDB and how the online discourse on 1MDB matched the characteristics proposed by Jurgen Habermas for practical online discourse. Findings: Four themes emerged, namely Najib as the Prime Minister, the 1MDB Debate Controversy, the Opposition position on 1MDB and the investigation of the 1MDB scandal. Based on the online discourse, it was evident that consumption of 1MDB news on Facebook led Malaysian netizens to form their own perceptions of the scandal. The emergent themes also illustrate that the online discourse met the characteristics of practical discourse suggested by Jurgen Habermas. Contributions: This empirical contribution fills a gap in the current knowledge as few studies have been conducted on the online discourse of the 1MDB political scandal among Malaysian netizens. Currently, no research is documented on the 1MDB political scandal from the netizens’ perspective other than the first author’s PhD thesis. This research is, therefore, beneficial to new media studies as researchers normally investigate or explore a specific issue when it has a conclusion; here, a risk was taken to conduct the study while 1MDB was still under investigation. Keywords: 1MDB, 2015, Najib Razak, netizens, Malaysia. Cite as: Mohd Nor, N. H., & Baharuddin, Z. (2021). Malaysian netizens’ perceptions of 1MDB: A thematic analysis. Journal of Nusantara Studies, 6(1), 351-372. http://dx.doi.org/10.24200/jonus.vol6iss1pp351-372

This paper outlines the educational benefits of creating digital stories for a variety of academic purposes as well as the professional need for students to develop and showcase digital proficiency. Digital stories fall under the category of multimodal composition and new media studies, and they encourage students to expand their digital literacy skills while reconceptualizing ways in which traditional writing projects can appeal to a broader audience. The article also addresses some of the classroom challenges teachers may face when trying to implement the practice and some practical resources that might assist teachers to integrate digital stories into their classrooms.

Podcast fiction storytelling is an underdeveloped area of new media studies. There is a wealth of texts available suitable for exploration. The example of The Adventure Zone in particular presents a strong argument that the medium possesses its own singular strengths for storytelling. The Adventure Zone is a fictional, audio-only, serialised podcast in which a narrative of both considerable length and depth is constructed through the playing of tabletop roleplaying game Dungeons & Dragons. It is hosted by the McElroy brothers, Griffin, Justin, and Travis, along with their father, Clint. The Adventure Zone demonstrates the unique qualities and noteworthy potential the podcast medium possesses. The McElroy family collaborates utilising comedy improv practices, which are strengthened by the game’s mechanics and rules. The line between characters and players – along with the line between textual and metatextual, canonical and non-canonical, diegetic and non-diegetic data – is significantly blurred through instances such as self-reflexivity and popular culture references. The fourth wall is inapplicable to The Adventure Zone. It is necessary to re-imagine it instead as a permeable curtain separating the players from the characters. The listeners are provided with a clear view of not only the story of The Adventure Zone, but the construction of its creation. There are few mediums in which the audience can so effectively and candidly witness the storytelling process. Comparisons drawn from the original text – The Adventure Zone podcast – to its ongoing adaptations – The Adventure Zone graphic novels – illustrates this fact further. The collaborative, improvisational, metafictional qualities of the dynamic audio-only medium of podcasts are absent from static visual mediums.

Yeni iletişim teknolojileri bağlamında kayda değer gelişmelerin yaşandığı günümüzde, bu araçların teknolojik, ekonomik, toplumsal ve politik anlamda yarattıkları etki birçok disiplinden araştırmacı tarafından incelenmektedir. Özellikle internet, bilgisayar teknolojileri ile dijitalleşmeye bağlı olarak gelişen ve sürekli bir devinim halinde olan yeni medya alanı da bu bağlamda öne çıkmaktadır. Yeni medyanın öncelikli olarak kitle iletişimini ve kişilerarası iletişimi büyük bir dönüşüme uğrattığı düşünüldüğünde, bu alan çerçevesindeki gelecek çalışma ve eğilimlerin tespit edilmesi önem kazanmaktadır. İşte bu çerçevede mevcut çalışmanın amacı yeni medya alanının/çalışmalarının geleceğinde öne çıkması muhtemel konuları alanın uzmanlarından veri toplayarak tespit etmek ve bunları tartışmaya açmaktır. Araştırmada yöntem olarak, belirli bir uzman grubundan ve bir dizi anket yoluyla kontrollü geri bildirim almaya dayanan Delfi metodu kullanılmıştır. Araştırma sonucunda yeni medyanın geleceğinde “kişisel verilerin kullanılması/korunması,” “sosyal medya veri analitiği,” “siber güvenlik,” “çevrimiçi arama motoru optimizasyonu,” ve “dijital siyasal iletişim” başlıklarının ön plana çıktığı görülmüştür. Tüm bu başlıkların büyük veri ve bu verinin kullanılması çerçevesinde ortaya çıkan sorunlarla ilintili olmasına bağlı olarak, yeni medyanın geleceği büyük veri kavramı ışığında tartışmaya açılmıştır., Today, considering the significant developments in the context of new communication technologies, the impact of these tools in technological, economic, social, and political terms is being studied by interdisciplinary departments. In particular, the new media field, which is in continuous movement due to the digitalization process through the internet and computer technologies, comes to the forefront. The present study aims to identify issues that could be prominent in the future of new media studies by collecting data from experts in the field and open those issues for discussion. The Delphi technique, which is based on receiving controlled feedback from a specific group of experts and through a series of surveys, was used as the research method. As a result of the research, the topics of usage and protection of personal data, social media data analytics, cybersecurity, search engine optimization, and digital political communication will be prominent in the future of new media studies. All of these topics are related to big data and the problems that arise in its use, so the future of new media studies is discussed in light of this concept.

New media studies have begun to take environmental topics into consideration. However, there has been little research that explores the origins of human psychological needs that motivate people to get exposed to nature on the Internet and gain satisfaction via social media uses related to nature. This study intended to investigate the uses and gratifications of and exposure to “nature 2.0” (a nature that is humanly created on Web 2.0) and the associated interdependence with nature and pro-environmental behavior. The results found that the needs to affiliate with nature 2.0 can be satisfied through functional, relational, and emotional gratifications. Exposure to nature 2.0 was associated with commitment to nature and pro-environmental self-reported behavior. Functional gratification was correlated with pro-environmental behavior, while relational and emotional gratifications were related to interdependence with nature.

"Out of the Flames" examines how online publics engage with key global events associated with forests, forest issues and forest governance and how social media activities are involved in articulating different ways of relating to, experiencing and knowing about forests in society. It does so by taking the 2019 Amazon rainforest fires, one of the most globally mediatised forest fires of the recent past, as a case study. By analysing data from digital platforms including Twitter, Facebook, Google, Instagram and YouTube, it seeks to understand public narratives and forms of engagement, participation and experience that emerge around this event at the peak of its international coverage in the second half of August and the first half of September 2019.

Brian Shoesmith, an Australian academic, spent the last phase of his academic journey in Bangladesh. He contributed to developing a new Media Studies and Journalism department in a relatively new p...

This chapter explores key ideas relating to consumption and advertising from new media studies perspectives. It involves grasping the general contours of consumption and processes of branding. Centrally, the chapter also requires that the consumers understand in some detail how advertising works and how it is changing in light of digital developments in media. Baudrillard argues that the simulative function of consumer society accounts in part for the seeming insatiability and continual dissatisfaction of consumers, and our desire to keep acquiring more ‘stuff’. However, Baudrillard also observes that there is no ‘in’ or ‘out’ of consumption and consumer society. To quote: the consumer experiences his distinctive behaviour as freedom, as aspiration, as choice. Creatives in advertising are dependent, therefore, on the politics and conventions of (digital) culture, fine art, graphic design, media, photography, pop music, subcultural activities, typography, web design/aesthetics, a variety of literary tropes and many other areas of cultural production.

Commentators and analysts in new media studies have taken inspiration from Goffman’s ‘dramaturgical’ approach to interaction as performance, as well as his concepts of ‘face’ and ‘impression management’. Goffman is specifically invoked in discussions of a particular source of interactional trouble that is seen as generated in and by the structure of mediated communication in digital spaces: so-called “context collapse.” Context collapse represents “a crisis of self-presentation” (Wesch, 2008) that is brought about by the ability of digital platforms like Twitter and Facebook to “flatten multiple audiences into one” (Marwick & boyd, 2010, p. 9). Returning to Goffman’s unpublished PhD dissertation (Goffman, 1953) – based on fieldwork on the remote island of Unst in the Shetlands – presents an opportunity to understand more fully both the online phenomenon of “context collapse” and the promise and limitations of Goffman’s work for the study of interaction in digital environments.

New media studies has often focused on the difference between traditional and new media objects while neglecting the perspectival difference in worldview and subjectivity concomitant with the becom...

Digital technologies such as the Internet of Things and artificial intelligence are changing how we live and do research, for example, the ways in which patient-reported outcomes and phenomics big data are curated and analyzed. Digital transformation is everywhere and is reshaping data (im)mortality in a wide range of sectors in medicine, engineering, journalism, and beyond. In this context, thanatechnology is a term introduced by Carla Sofka over two decades ago, referring to "any kind of technology that can be used to deal with death, dying, grief, loss, and illness." The field of thanatechnology has become relevant in the digital age as social media is full of accounts from dead individuals, whereas digital media is often harnessed as a source of data and metadata, and in times of pandemics and normalcy. Emerging macroscale analyses forecast billions of social media user accounts from deceased persons in the current century. What happens to digital remains of persons once they cease to exist physically? Digital death, or its absence in the case of deceased individuals, becomes a challenge for both data availability and veracity, and confound research and public health services. Data (im)mortality and digital death are also relevant for research on past events of significance for public health, for example, to discern the history of pandemics and ecological threats. This article examines and calls for new ways of thinking about digital death and thanatechnology as integral dimensions of digital transformation in medicine, new media studies, and society in the 21st century.

Tiek šiandieninės, tiek pastarųjų dešimtmečių tendencijos, kalbant apie šiuolaikines technologijas ar naująsias medijas, yra tokios, jog dažniausiai dėmesys skiriamas suvokimui, kaip jos veikia mūsų gyvenimus. Klasikinių medijų studijų atstovai domisi, kokią įtaką vartotojams daro internetas, susirašinėjimų svetainės, elektroninio pašto bei kitos kompiuterinės programos. Tokie tyrimai, turint omenyje spartų technologijų vystymąsi, toliau išlieka aktualūs, tad ir šiandien apstu įvairių tyrimų, kuriais stengiamasi atsakyti klausimus, kaip mes esame veikiami medijų. Taigi, pagal šias tendencijas, medijų studijos savo populiarumo tikrai nepraranda, tačiau čia svarbu pažymėti, kad pačios medijos, kaip tyrimų objektai, šiuose tyrimuose susilaukia ne tokio didelio dėmesio. Vis dėlto, pastaraisiais metais situacija kinta ir yra pastebimas augantis susidomėjimas skaitmeniniu materializmu, kuomet analizuojamas medijų bei šiuolaikinių technologijų materialumas. Čia keliami klausimai, iš ko ir kaip yra gaminami medijas įgalinantys objektai, prietaisai ar mašinos bei ieškomi atsakymai, kaip šių technologijų materialumas veikia mus supančią aplinką, mūsų požiūrį į technologijas, ir kodėl svarbu atkreipti dėmesį bei domėtis, iš ko susideda kasdienybėje vartojamos medijos. Ši, ganėtinai neseniai susiformavusi skaitmeninio materializmo teorija šiandien yra aktuali, nes prasidėjus aktyviems skaitmenizavimo procesams, materialumo aspektas tapo mažiau pastebimas. Žinoma, prietaisai, kuriais naudojamės, vis dar išlaiko akivaizdžią materialią formą, tačiau tokios medijas įgalinančios struktūros, kaip internetas, programinės įrangos ar duomenų bazės bei saugyklos, dažnam vartotojui nekelia asociacijų su mums įprasta materialumo samprata. Taigi, šioje vietoje iškilo dar vienas galimas požiūris į medijas, padėjęs suformuoti studijas, kurios atkreipia dėmesį, jog net ir aukščiau įvardinti pavyzdžiai nėra tik kodu išreikštos, sunkiai įsivaizduojamos ir neaišku kokioje erdvėje „sklandančios“ struktūros. Priešingai, jos irgi yra įgalintos materialių objektų, kurie nors ir egzistuoja už mūsų asmeninių erdvių, tačiau vis vien yra sudaryti iš įvairiausių medžiagų, veikiančių aplinką, o šių struktūrų suvokimas (arba nesuvokimas) turi įtakos mūsų požiūriui į medijas, technologijas bei tokiems aspektams, kaip vykdomos šalių ar įmonių politikos bei tarptautiniai susitarimai. Šiame projekte pagal skaitmeninio materializmo teoriją nagrinėjama debesų kompiuterija, kurią dažnai sunku įsivaizduoti kaip materialią technologiją. Tačiau šio darbo metu, siekiama atskleisti debesų kompiuterijos materialų pagrindą. Svarbu paminėti, kad dažniausiai, kalbant apie lietuvių k. parašytus darbus, debesų kompiuterija yra nagrinėjama grynai tik iš jos panaudojamumo pusės. Tad šiame darbe pateikiamas požiūris į debesų kompiuteriją tarp lietuvių k. parašytų darbų ir straipsnių yra gana naujas. Šio projekto tyrimo objektas – debesų kompiuterija ir ją įgalinančios medijų infrastruktūros, konkrečiau, duomenų centrai. Šio projekto tikslas – remiantis skaitmeninio materializmo teorija, atskleisti debesų kompiuterijos materialumo aspektus. Aukščiau įvardintam tikslui įgyvendinti iškeliami šie uždaviniai: 1. išsiaiškinti skaitmeninio materializmo sampratą naujųjų medijų studijose; 2. išskirti požiūrių į skaitmeninį materializmą tendencijas; 3. apibrėžti, kaip suvokiama debesų kompiuterija; 4. išanalizuoti, kokios materialumo apraiškos aptinkamos debesų kompiuterijoje. Šis projektas buvo rašomas, taikant aprašomąjį ir turinio analizės metodus. Užbaigus šį projektą, buvo pastebėta, jog prie debesų kompiuterijos formuojamo nematerialaus požiūrio labai prisideda vartojama „debesies“ metafora. Tačiau darbo metu taip pat atskleista, kad debesų kompiuterija turi aišku materialų pagrindą, t. y., medijų infrastruktūrų tinklą, kuris įgalina debesiją ir jos veiklą. Baigiamąjį projektą sudaro paveikslų sąrašas, įvadas, du skyriai, išvados, literatūros ir informacijos šaltinių sąrašai., Today’s trends, as well as, trends in recent decades, in terms of modern technology or new media, mainly focus on understanding how they affect our lives. Representatives of classic media studies are interested in the fact, how the Internet, messaging sites, e-mail, and other computer programs impact consumers. Such research, given the rapid development of technology, remains relevant. And even today there are plenty of researches that seek to answer questions about how we are exposed to the media. Thus, according to these trends, media studies certainly do not lose their popularity, but here it is important to note that the media themselves, as objects of research, receive less attention in these studies. Nevertheless, in recent years the situation has changed and there is a growing interest in digital materialism when analyzing the materiality of media and modern technologies. It raises questions about what and how media-enabled objects, devices, or machines are made, and seeks answers to understand how the materiality of these technologies affects our environment, our approach to technology, and why it is important to pay attention in what everyday media consists of. This relatively recent theory of digital materialism is relevant today, as the aspect of materiality has become less noticeable with the onset of active digitization processes. Of course, the devices we use still retain an obvious material form, but media-enabling structures such as the Internet, software, databases, and storage usually do not evoke associations with the conventional notion of materiality. Thus, another possible approach to the media has emerged, which has helped to shape studies that point out that even the examples mentioned above are not just code-expressed, hard-to-imagine, and unclear structures. On the contrary, they are also empowered by material objects that, although existing outside our personal spaces, are still composed of a wide variety of materials operating in the environment, and the perceptions (or the lack of perceptions) of these structures influence our attitudes toward media, technology, and such aspects as national or company policies and international agreements. This project examines cloud computing according to the theory of digital materialism. Even though, often it is hard to image the cloud as material technology, in the course of this work, the aim is to reveal the material basis of cloud computing. It is important to mention that most often, when it comes to works written in Lithuanian, cloud computing is examined purely from the point of view of its usability. Therefore, the approach to cloud computing presented in this paper, among the works and articles written in Lithuanian, is quite new. The object of research of this project is cloud computing and media infrastructures that enable it, more specifically, data centers. The aim of this project is to reveal the materiality aspects of cloud computing based on the theory of digital materialism. The following tasks are set to achieve the above mentioned aim: 1. to find out the concept of digital materialism in new media studies; 2. to single out the tendencies of attitudes towards digital materialism; 3. to define the perception of cloud computing; 4. to analyze what manifestations of materiality are found in cloud computing. This project was written using descriptive and content analysis methods. Upon completion of this project, it was observed that the “cloud” metaphor contributed significantly to the formation of an intangible approach to cloud computing. However, the work also revealed that cloud computing has a clear material basis, that is, a network of media infrastructures that enable the cloud and its operation.

This research paper discusses the growing trend of interactive displays in art institutions as a relevant shift in the discourse on photographic literacy, and it is addressed towards curators, archivists, museum professionals, and new media artists with a specialization in photographic studies. The paper explores the concerns of digitized materiality in interactive exhibitions, virtual museums, and image databases. Four cases studies will be utilized in this discussion, including the Peel Art Gallery Museum and Archives, Google Cultural Institute, Flickr: The Commons, and The Lowcounty Digital History Initiative. The relationship between digitized materials and visitors requires an ongoing review of how a diverse demographic of museumgoers read photographs and relate to them in exhibitions. This research paper utilizes topics from new media studies to better understand the implications, benefits, and drawbacks of these different types of displays, and how they fit into the narrative of photographic theory and exhibition design.

This research aims to discuss the importance of the spectator inside the context of competitive gaming (or eSports) while identifying crucial elements and moments that can influence their behavioral and emotional variation of spectators when watching eSports matches. This investigation is a direct continuation of a recent study conducted by the authors where indie computer game developers were consulted about aspects present in the eSports universe. Among the topics, there were questions about Objectives and Rules, Competitiveness, Interface Information, Visual Identification in Players and Teams, Flow Content and Communication Groups, thus discussing diverse eSports aspects, on how to approach new spectators and improving the experience of those who already watch competitive gaming. The evolution of gaming is due to advances in technology, standing them as special cases in the new media studies, which distinguish interactivity as the main responsible for the gaming scenarios success. When discussing eSports, interaction takes place not only between users (spectators and players) and products (video games), but also with presenters, professional players, coaches, streamers, and content creators, creating a network of fast communication and easy participation. The following study then proposes an analysis of eSports spectators using biosensors to capture indicative data when watching two different clips from Valve’s video game Counter Strike: Global Offensive. We specify the use of ECG (electrocardiogram), RESP and EDA/GSR, which are operated and coordinated by the BrainAnswer platform, a system that allows the gathering and storage and analysis of synchronized data in an organized environment.

Süreğen medya platformları, günümüzde anlatısal metinler için televizyon ve sinemayı ikame edecek yeni bir dolaşım/dağıtım biçimi olarak ortaya çıkıyor. Fakat bu dolaşım biçimine has izleme etkinliğinin zamansal ve mekânsal koşulları ve ön plana çıkardığı anlatısal aygıtlar, onu geçmişteki sinema ve televizyon izleyiciliğinden farklı şekilde yapılandırıyor. Süreğen medya platformları, taşınabilir medya teknolojilerinin de yardımıyla, izleyici etkinliğini zamansal ve mekânsal kısıtlarından kurtarıp sürekli, her yerde ve her zaman ulaşılabilir hale getiriyor. Bu pratik, sadece sinema ve televizyon izleyiciliğinin kurucu niteliği olan kamusallığın uzağında, yalıtılmış, sterilize bir iletişim tecrübesi yaratmakla kalmıyor; ilk bakışta kişisel ve kişiye özel gibi görünen bu yeni iletişim süreci esasında algoritmik süreçler aracılığıyla düzenlenerek platform kapitalizminin kontrol aygıtlarından birine dönüşüyor. Bu yazıda amacımız süreğen medya platformlarının dayattığı bu yeni izleyici etkinliğinin içinde kurulduğu koşulları kuramsal düzeyde analiz etmek ve bu koşulların kamusal yaşama etkisini sorgulamaya girişmek. Streaming media platforms are increasingly replacing cinema and television as the dominant means of narrative-content distribution, yet viewing media on these platforms differs in important ways from cinema and television spectatorship, both through the narrative and interactive possibilities they allow, but also through the temporal and spatial conditions they impose on audiences. With the help of the mobile media technologies they are delivered through, streaming media platforms free audiences from the temporal and spatial limitations of cinema and television and offer a continuous yet isolated viewing experience. Algorithmically regulated and customized program flow and the accompanying illusion of interactivity create a “privatized” viewing experience which contrasts with the “publicness” and “collectiveness” of that of cinema and television. In this article, we discuss the novel conditions imposed on viewers by streaming media platforms at a conceptual and theoretical level and interrogate their impact on public life.

This qualitative study builds upon previous quantitative new media studies using Bandura’s social cognitive theory of mass communication (SCT) to understand health and beauty content on Pinterest. The thematic analysis investigated Pinterest search results for “healthy” makeup products to contextualize Pinterest’s influence on social perceptions of health, beauty, and consumption among women. Pins were analyzed through the SCT constructs of a) standards promoted and b) behaviors encouraged to users searching for healthy makeup products as conveyed through social modeling, messages, and social rewards in “healthy” makeup pins. Additionally, pins were analyzed for their articulation within Pinterest as a postfeminist media culture and their embodiment of medicalization. Results indicate that pins for healthy makeup products largely encouraged appearance-related standards and behaviors, rather than health-related ones. Pins also enacted a postfeminist media culture to perform “health” through the disciplined application of specific makeup products.

This article, stemming from research in contemporary book studies and new media studies aims at showing the recent evolutions of storytelling practices in contemporary literature, more specifically in their relationship with electronic forms of literature. Starting with the recent resurgence of the “death of the novel” trope, we attempt to map out the way elements of contemporary literature have in part evaded the perceived opposition between print and electronic literature, to build a new form of storytelling which is characteristic in its construction of a specific way of reading. Since it has been established that reading practices are influenced by the evolution of reading devices, storytelling is in turn informed by these evolutions. Electronic literature as such has been studied extensively, as well as its direct aesthetic influence on avant-garde works like Mark Z. Danielewski’s House of Leaves. This influence has reached different audiences and may be connected to other productions referred to under Henry Jenkins’ umbrella term “transmedia storytelling.” Then, forms of contemporary storytelling have attempted to regain the reader’s fractured attention, notably through the manipulation of experience and immersion in time and space –geolocalised narratives, stories told through social media, or lived stories translated into a museum. Storytelling is thus informed not only by its source, but by a great variety of variables like touch, smell, or spatial experience, to regain a sense of connectedness in the act of telling stories. In seeing storytelling as a synchronic experience, we then focus on works both targeting a specific audience used to experimental texts or productions, or niche audiences expecting genre fiction.

This project explores the potential of creating, sharing and listening to oral stories online to open affectively charged spaces for listening across difference. In a world in which we are increasingly able to tailor the technologies that surround us to echo back our own voices and worldviews, we seem less willing to slow down and listen deeply to the voices of those whose presence risk placing our tidy worlds into turmoil. This project explores the affective political potential of both the processes of production and dissemination of the multiplatform oral history project StoryCorps. Drawing together recent work on affect from rhetorical studies, cultural studies and new media studies, this project uses textual analysis to analyze how the various StoryCorps platforms (NPR segments, the podcast, the StoryCorps me app) generate affective archives that invite different forms of interactivity from listeners. This paper explores the affective power of mediated voice to bring minoritized experiences and calls for equity to the ears of broader publics. It is significant because it highlights the boundaries and possibilities of digital storytelling as a way to connect with others across difference. The boundaries remind us of the persistence of structures of marginality that limit the seemingly democratic practices of storytelling in a digital age; the possibilities gesture to the power of minoritized voices to disrupt entrenched narratives. The significance of these stories rests in their claim to be at once particular and generalizable, and the digital format enables their travel in new ways and to new audiences.

International audience; This article contributes to the study of climate debates online by examining how the IPCC Special Report on Global Warming of 1.5°C (SR15) played out on YouTube following its release in October 2018. We examined features of 40 videos that ranked the highest in YouTube's search engine over the course of four weeks after the publication of the report. Additionally, this study examines the shifting visibility of the videos, the nature of the channels that published them and the way in which they articulated the issue of climate change. We found that media activity around SR15 was animated by a mix of professional and user-led channels, with the former enjoying higher and more stable visibility in YouTube ranking. We identified four main recurrent themes: disaster and impacts, policy options and solutions, political and ideological struggles around climate change and contested science. The discussion of policy options and solutions was particularly prominent. Critiques of the SR15 report took different forms: as well as denialist videos which downplayed the severity of climate change, there were also several clips which criticized the report for underestimating the extent of warming or overestimating the feasibility of proposed policies. Contents Introduction Research approach and method The IPCC communication strategy and SR15 Features of top ranking videos Visibility of top ranking videos Salient themes in top ranked videos Conclusion

In his article professor M. Zhytaryuk deals with notions of “mediation” and “mediatization” in the context of these terms substitution, differences, interpretations, as well as whether is it reasonable and to the point to extend the bounds of the usual and fundamental meaning of “mediation”, whether is it possible to interpret it as an interdisciplinary concept and about overcoming the effects of “mediatization” through “mediation”, etc. Bearing in mind that it is considered to be perhaps the most influential in the construction of the media practices study and problems researches and their implications the Y. Habermas’s thesis about the so-called “colonization of the living space”. Which stimulated new media studies – both about as a specific mechanism of transformation of social and cultural reality (it was discussed in particular in the monograph “Social and cultural model of journalism...”), and as a hybridity of traditional media. It can be further to confirm or to refute described markers (regarding to mediation as a “manifestation of the transformation function of the media”, (L. Zemlyanova), annihilation (destruction) of space (Z. Bauman, A. Turen, M. Friedman, etc.), and the raising of the “end of geography” phenomenon (P O’Brien). Thus, mediation and mediatization are not identical concepts, however the former emphasizes the intermediary role of the mediator for the purpose of reconciliation, and the latter implies the mediator’s will to a wide audience, regardless of the means. At the same time, in some circumstances, mediation can be used as a mediatization tool. But to do this, it is necessary to improve a culture of mass communication in general. Key words: mass media, mediation, mediatization, media space of Ukraine .

The paper focuses on the reception of Derrida’s Archive Fever among (new) media theorists and its relevance for the ongoing discussions in that academic field. Although this Derrida’s text is often described as the one in which he provides a statement on the pervasive revolutionary impact of new media, its reception among media theorists remains scarce. Several media scholars that tackle the text, however, have an ambivalent stance on it: they appreciate some of Derrida’s theses, but regard them largely obsolete. The first part of the paper analyzes these critiques and argues that many of the objections on Derrida’s behalf are caused by the misinterpretation of important features of the deconstructive thought. In its second part, the paper firstly deals with certain weaker points of Derrida’s reflection and then proceeds to examine his insights pertinent to the problems of contemporary media theory that were neglected in earlier reception. Finally, paper reaffirms the claim about the need for a more profound exchange between the deconstruction and media studies, albeit one that would avoid the examined shortcomings.

The item number is the driving force behind the transformation of cine-dancing in relation to the star and as a corollary, positioning the star body within the discourse of post-network status of film publicity, marketing culture, branding, and value creation across media templates. I engage with the item number as the explosive interface that mutates the sensation of stardom. The performative charge of item numbers provoke dynamic interface processes that forge a sensational image of the star body through “inherently rhizomatic and hyper-visible sites” beyond cinema in music television, radio, print, live stage, new media as well as other ancillary industries like merchandize endorsements and product branding (Nayar in Seeing stars: Spectacle, society and celebrity culture. Sage, New Delhi, 2009). Extra-filmic stardom proliferates across networked media where every public appearance, statement, “tweet” and sound bite made by the star (or a controversial/leaked/morphed orphan video that floats on Web space) generates a ripple of sensations (Cashmore in Celebrity/Culture. Routledge, NY, 2006). The chapter will locate the new erotics of the star body after globalisation and in a post-network society, a body that “deterritorializes geographical and cultural borders” and conjures the erotic spectacle of the “global celebrity” (Redmond in A Companion to Celebrity. Wiley Blackwell, UK, 2016). This chapter will offer insights on the role of dance in the shifting notions of a star’s screen position. If at one point the item girl was an ‘outsider’ to the narrative, today lead heroines perform these dance spectacles. I do a comparative study of major (Malaika Arora, Aishwarya Rai, and Kareena Kapoor) and minor stars (Sambhavna Seth, Rakhee Sawant, Veena Malik, and Sherlyn Chopra), their performance of item numbers and the discourse generated in the popular press about them. The last two decades have shown how fringe actors acquired short lived stardom owing to their performance of certain item numbers (Rakhi Sawant and Isha Koppikkar). At the other end of the spectrum we have seen how big stars like Madhuri Dixit can add value to aid the publicity and marketing of films (Madhuri Dixit’s number “Ghagra” in Karan Johar’s blockbuster hit film Yeh Jawaani Hai Deewani 2013).). The chapter aims to make an intervention in the existing academic discourse on cinematic ‘trash’ and ‘sleaze’ by underlining the obvious but understated edge of technology mediating the sensation of ‘sleaze’ and bringing it in close connection with mainstream stardom in the case of the item number. Sleaze here is an aesthetic mode of the cine-erotic that is widely recognized from Hollywood’s genre of exploitation films (with lesser-known starlets, low budget productions, lurid mise-en-scene, and deliberate investment in trash). While I am immensely indebted to previous studies of stardom especially Neepa Majumdar’s logic of the “split discourse of female stardom in India” which stages a debate about the class position of the performer and the respectability of the medium, I move away from purely socio-cultural connotations of stardom. I acknowledge new media studies and propose a study of the item number as an interface for stardom. I make use of gossip journalism and magazine covers to trace the sensation of the erotic in star bodies. Narratives of cosmetization of the star body (botox, silicone implants, size-zero figure and six-pack abs) further the logic of the fractal nature of the affective body which can mutate in contact with technology. The glamour associated with big male stars and their dance numbers that work as promotionals for big budget films will be discussed in this chapter. The numbers themselves operate as star texts creating value for the film. Male dancing in item numbers, as I show through my case studies, performatively create star narratives: Shahrukh Khan’s global stardom created by his dancing on live stages across continents is cited in his item numbers; Salman Khan performatively addresses his Muslim (often based in the Middle East and Europe) and working-class fans through his item numbers which act as standalone pieces and Ranveer Singh’s item numbers (across media templates of film, video, live show and endorsements) assert his taporiness—a crucial marker of his star narrative. In each of these cases, the item number ascertains the “global citizenship of the Bollywood star” (Nayar 2016). Some of these male dance numbers have not been considered as item numbers. However, they fit my taxonomy of item numbers as hybrid ensembles that not only reframes the logics of sensation around the body of the performing star but also operates as standalone star texts outside the narrative of the films and even the ecology of the song’s lyrics and picturization.

This dissertation explores how creative collaborative practice transforms subjectivity, before it is leveraged as an industrial resource. Raising key questions about the nature of collaborative practice itself, I discuss in detail the histories and processes of select collaborative groups in order to unfold an idea of intensity among participants that exceeds the boundaries of each artist without eradicating individuality. I argue that from the commingled exchange occurring in a material and discursive mash-up called "the mangle," emergent onto-epistemologies arise that disrupt static physical and identity formations. From this disruption, the ways in which language or sense-making functions are transformed and begin to include alternative ways of knowing that occur in bafflement, the inability to comprehend, and dysfunction. I work rigorously to transform the chaotic status of these negative terms into something that can be understood as lively, creative, and transformative in their own right and not merely opposites of order, understanding, clarity, and sanity. Overall, the project is highly trans-disciplinary in that I analyze art works and art practices, films, musical performances, composition techniques, and my own long-term creative collaborative work with a group called Multipoint. Further, in a very focused effort to transgress disciplinary boundaries, I place Material Feminism and post-Marxist theory alongside the philosophical works of Deleuze, Wittgenstein, Agamben, and Derrida. Divided into five chapters, the project addresses different aspects of intricate sharing and mangled time. The preface and the first chapter introduce the concept of trans-subjectivity and outline a chaotic, intense description of collaborative practice as I conceive it for this project, tracing a myopic history from the 1950s to the present to consider various forms of collaboration and their effects. The second chapter imagines networked, complex bodies in the video works of Natalie Bookchin and in installation art generally. The third considers the way language becomes complicated and remade through forms of virtuosity and incomprehensibility, while the fourth develops a theory of a-productivity involving lingering in conditions of highly queered time. The last chapter reads Giorgio Agamben's "whatever being" through Derrida's concept of impossible hospitality to envision the potentials for emergent forms of community.

Focusing on online magazines, this article sheds light on Russian cultural institutions from the perspective of digital media. My analysis concentrates on urban lifestyle magazines, a sub-category of consumer magazines and a media genre, which emerged in Russia in the glossy magazine format and is now experiencing a powerful second rising' on the internet. My article asks how the adaptation to the digital communication environment by lifestyle publications re-defines the very concept of a magazine and reorganizes the institutional ties between media and cultural industries. This focus enables me to analyse lifestyle magazines as a dynamic field of interaction in which cultural meanings are produced and negotiated. Based on new media studies, I see the cultural transcoding (Manovich 2002) of the networked and automatized information transmission into the magazines' content as being a significant factor in the development of contemporary culture and media. Ultimately, my article introduces an attempt to analyse new media titles combining qualitative media analysis with the developing theory of algorithmic culture' (Striphas 2015). My argumentation is based on two case publications: Afisha, established in 1999 as a weekly glossy magazine introducing all cultural events in Moscow, and Inde, a digital-born regional lifestyle magazine focusing on urban culture in the Republic of Tatarstan. Urban lifestyle magazines are important for the institutional organization of Russian culture, as they direct their readers' attention to a broad selection of arts, products and events; strengthen the link between consumers and cultural entrepreneurs and build on a long tradition of print journalism, thereby transmitting the values of reading and literacy to a popular public. Moreover, my analysis shows that, through their multi-platform publication strategy, online magazines (re)organize as aggregates of digital resources helping to manage cultural decision-making in a consumerist setting.