D:\Documents and Settings\Ana\My Documents\Biserka-knjiga ...

More documents

Recommendations

Info

Digital Culture: The Changing Dynamics processes, governments are intrusive, and no longer have control over symbols, information or ideologies. The way global capitalism erodes the nation state is through the diminishing of customs boundaries, the emergence of mobile markets, and the new division of labour that provokes large-scale migrations, supported by new digital technologies. We are facing limitations to inclusion in the public spheres. In the eighteenth/nineteenth century these limitations were to a large extent connected to class and gender, while the twentieth century peak of electronic media usage (especially in the 1950s) witnessed a large inclusion in the public sphere created by these type of media. However, this inclusion was limited to spectatorship with no possibility to reply. Today, in the twenty-first century, a historical period dominated by new digital technology, the divisions are again present, this time, perhaps more in regard to age, urban or rural settings and level of education. There is another specificity which characterizes the participation in the contemporary digital world. In the analysis of the ritual practices of media users, new digital media implies a radically individualized usage. While the press – as a mass medium – is easily portable and used in various social settings, television as a technological device holds a central position in the homes of people initiating social gatherings around it, and has replaced the traditional fireplace or the altar. As different from the above-mentioned, new media technology, more specifically personal computers, radically changed these types of practices. The PC is usually placed in a more intimate corner of the residence, and is, due to its form, directly oriented towards the individual as a user. It asks for an immediate physical contact, insists on the closeness of sight. However, television viewing as a collective ritual has also been changed with the trend of multiple television sets in one household, which has changed contemporary consumption of television output. Indeed, this is only one aspect of the contemporary trends of individualization of previously collective practices, something which force us to change the categorical apparatus to a large extent. This form of individualization is related to contemporary understanding of media users. We are witnessing parallel trends in the analysis of new media users which seems to be in opposition at first glance: on the one hand we are faced with an ever so obvious fragmentation of the audiences, consisting of small niches useful for market players. This trend of fragmentation is to a large extent the result of technological features of the new media which prompt individual usage. On the other hand, we can spot new forms of social integration (networking) of media users, created and supported by interactive digital computer technology, visible in virtual social communities connected by a network of various relationships between their members. 56
The understanding of media users, as exemplified in the text, has gone through various transformational models. The participants in the public sphere in the eighteenth century implied a face-to-face “dialogical exchange” based on publicly disseminated information, to a large extent mediated by the press, while electronic media implied a mass audience, engaged in a one-to-many form of communication. In the first phase, this type of media user was critically evaluated as passive and uncritical to the manipulative mass media content, while in the second affirmatively characterized as active media audiences (plural), who carry creative potentials in decoding media messages. New digital technology, more specifically the Internet, has again pushed us back to a “dialogical” or “polilogical” exchange; not communicated face-to-face but intermediated by the computer. In this respect, the inhabitants or avatars of the previously explained virtual Second Life world or the members of Internet social networks such as Facebook could be analysed as new forms of virtual public spheres. Second Life and Facebook include a diffused type of user engagement (more diverse media technologies, more individual, intimate user practices). In addition, media users have become products in a consumer society: a market niche, positioned between the interests of media producers and advertising agencies. Another important question related to the contemporary perspectives of media users is the issue of media pluralism and diversity. On the one hand new technologies potentially enable a more pluralized and diverse media landscape (in terms of offered channels and content) and on the other, we testify to the increasing trend of media ownership concentration, which imperils the above-mentioned potentials opened up by new technology. For these reasons, forthcoming media user research will, in addition to issues such as media digitalization, remediation and convergence, have to deal with contemporary economic issues in a globalized world. References Media users: from readership to co-creators Abercrombie, Nicholas and Longhurst, Brian: Dictionary of Media Studies. London, Penguin, 2007 Anderson, Benedict: Imagined communities. London & New York, Verso, 1983 Ang, Ian: Desperately Seeking the Audience. London, Routledge, 1991 Boyd-Barrett, Oliver: “Conceptualizing the Public Sphere”, in Boyd-Barrett, Oliver and Newbold, Chris (eds): Approaches to Media: A Reader. London, Arnold, 1995 Brunsdon, Charlotte and Morley, David: Everyday Television: “Nationwide” BFI, London, 1978 Comaroff, John L. and Comaroff, Jean (eds): Civil Society and the Political Imagination in Africa. Critical Perspectives. University of Chicago Press, 1999 57
Page 2 and 3:
CULTURELINK Network of Networks for
Page 4 and 5:
This Work has been published with t
Page 6 and 7:
Culturelink Joint Publications Seri
Page 8 and 9:
Managing culture in virtual realms:
Page 11 and 12:
Foreword Digital culture is a new c
Page 13: INTRODUCTION
Page 16 and 17: Digital Culture: The Changing Dynam
Page 31: PART ONE DIGITAL CULTURE - THE NEW
Page 51 and 52: Introduction Media users: from read
Page 53 and 54: Media users: from readership to co-
Page 57 and 58: As John B. Thompson argues, the sup
Page 61 and 62: designers will take a back seat in
Page 63: The above-mentioned are two affirma
Page 67 and 68: Transformations of cultural product
Page 77: References Transformations of cultu
Page 99 and 100: Copyright and the digital age: a co
Page 107: Copyright and the digital age: a co
Page 111 and 112: Challenges for cultural policies: t
Page 113 and 114: Challenges for cultural policies: t
Page 115 and 116:
2006), foresaw an impressive growth
Page 117 and 118:
digital resources, needs to be defi
Page 119 and 120:
References Benkler, Yochai: The Wea
Page 121 and 122:
Digital culture in policy documents
Page 123 and 124:
communication and economic producti
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
informatization of processes in ins
Page 131 and 132:
Page 133 and 134:
References Bennett, Tony: Differing
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
With reference to possible policy r
Page 147:
References Managing culture in virt
Page 151 and 152:
Ecology of the media and hyperhuman
Page 153 and 154:
languages on the Internet - mainly
Page 155 and 156:
governmental or corporate action pl
Page 157:
global critical consciousness that
Page 160 and 161:
Digital Culture: The Changing Dynam
Page 162 and 163:
Page 164 and 165:
Page 166 and 167:
Page 168 and 169:
Page 170 and 171:
Page 172 and 173:
Page 175 and 176:
The online power of users and money
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Page 185 and 186:
• selling artistic products onlin
Page 187 and 188:
References Culture Interactive Cult
Page 189 and 190:
A glance at the Cuban culture throu
Page 191 and 192:
Page 193 and 194:
This paper attempts to: • provide
Page 195 and 196:
websites that fused into what we ma
Page 197 and 198:
Portal del Cine y el Audiovisual La
Page 199 and 200:
Internet costs nothing in any forei
Page 201:
Page 205 and 206:
Authors in this volume Authors in t
Page 207 and 208:
Authors in this volume Daniela Ange
Page 209 and 210:
Authors in this volume Imaging a Wo
Page 211:
Culturelink Joint Publications Seri
show all

D:\Documents and Settings\Ana\My Documents\Biserka-knjiga ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?