The online culture of agriculture: exploring social media readiness of agricultural professionals

2018 ◽  
Vol 6 (3-4) ◽  
pp. 289-299 ◽  
Author(s):  
Bhattacharjee Suchiradipta ◽  
Saravanan Raj
2020 ◽  
Vol 11 (2) ◽  
pp. 226-260
Author(s):  
Lu Ying ◽  
Jan Blommaert

Abstract Memes as online graphic semiotic resources have developed into a globalized genre and a cultural form. The vernacularization of this global cultural form on Chinese social media is Biaoqing (literally, ‘facial expression’). Biaoqing is a phenomenon and a genre engendered by the development of information technology and growing accessibility to the internet. The most prominent features of Biaoqing on Chinese social media (cute, mischievous, decadent, dirty, violent) are spawned by and therefore reflect the structure of society. The ludic nature of Biaoqing enables them to serve as resources for new forms of communication, potential of reshaping existing social norms, the landscape of online culture, and culture and society at large. The results of this contribution constitute an invitation for a reimagination of the role of graphic semiotic signs and digital infrastructures in society, and a rethinking of theories for sociolinguistic research in a digital era.


2021 ◽  
Vol 14 (1) ◽  
pp. 64-82
Author(s):  
Nicholas Morrissey

With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even personal expression as media becomes more integrated into our systems of meaning.


2019 ◽  
Vol 13 (3) ◽  
pp. 303-319 ◽  
Author(s):  
Christopher A Smith

The expression ‘Fake News’ inside Internet memes engenders significant online virulence, possibly heralding an iconoclastic emergence of weaponized propaganda for assaulting agencies reared on public trust. Internet memes are multimodal artifacts featuring ideological singularities designed for ‘flash’ consumption, often composed by numerous voices echoing popular, online culture. This study proposes that ‘Fake News’ Internet memes are weaponized iconoclastic multimodal propaganda (WIMP) discourse and attempts to delineate them as such by asking: What power relations and ideologies do Internet memes featuring the expression ‘fake news’ harbor? How might those manifestations qualify as WIMP discourse? A multimodal critical discourse analysis of a small pool of ‘fake news’ Internet memes drawn from four popular social media websites revealed what agencies were often targeted and from what political canons they likely emerged. Findings indicate that many Internet memes featuring ‘fake news’ are specifically directed, revealing an underlying hazard that WIMP discourse could diminish democratic processes while influencing online trajectories of public discourse.


2021 ◽  
pp. 136787792110175
Author(s):  
Artur Szarecki

The article employs post-hegemonic theory to reframe how power operates within online cultures. To that end, it investigates a digital marketing campaign for a Polish clothing brand, Reserved, and its reception in social media. Examining over one thousand comments on Facebook, it argues that while the initial viral success abruptly turned into public outcry, the actual response was much more varied, encompassing a multiplicity of different feelings and immediate orientations, not necessarily congruent with the backlash. In this sense, the shifting balance of power was not contingent on the emergence of a public consensus that challenged corporate hegemony, but pertained to the arrangement of affective intensities to habituate the multitude to the networked media environment. Consequently, the article approaches Reserved’s campaign and its online reception as involving a series of corporeal attunements that re-territorialized multiple and incongruent affective flows into established networked structures and corresponding relations of power.


ASHA Leader ◽  
2015 ◽  
Vol 20 (7) ◽  
Author(s):  
Vicki Clarke
Keyword(s):  

ASHA Leader ◽  
2013 ◽  
Vol 18 (5) ◽  

As professionals who recognize and value the power and important of communications, audiologists and speech-language pathologists are perfectly positioned to leverage social media for public relations.


2013 ◽  
Vol 44 (1) ◽  
pp. 4
Author(s):  
Jane Anderson
Keyword(s):  

2011 ◽  
Vol 44 (7) ◽  
pp. 75
Author(s):  
SALLY KOCH KUBETIN
Keyword(s):  

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