scholarly journals An Analysis Of How The Participatory Culture Through The Internet Is Fostered In Policies Directed Towards Non-Formal Educational Contexts

2011 ◽  
Vol 28 ◽  
pp. 259-261
Author(s):  
Margarita Silvestra León ◽  
José Miguel Correa ◽  
Jesús María Aramberri ◽  
Estibaliz Jiménez de Aberasturi
Keyword(s):  
Participatory Culture ◽  
The Internet

Internet memes as multilayered re-contextualization vehicles in lay-political online discourse

2020 ◽  
Vol 3 (2) ◽  
pp. 283-320
Author(s):  
Monika Kirner-Ludwig
Keyword(s):  
Participatory Culture ◽  
Reference Points ◽  
The Internet ◽  
Online Discourse ◽  
Political Beliefs ◽  
Specific Focus

Abstract It is well established that the internet meme has come to represent a highly creative discursive device used to “facilitate the […] communication of one’s own political beliefs, attitudes and orientations” (Ross and Rivers 2017: 1). Although internet memes and political internet memes in particular have been addressed to many communicative situations such as participatory culture (e.g., Jenkins 2006; Shifman 2014; Theocharis 2015), one aspect that has not been paid enough attention to concerns the forms in which users refer to individual political figures and events in political memes. This being said, the present paper focuses on referring strategies (see Kirner-Ludwig and Zimmermann 2015; Kirner-Ludwig 2020) as employed in political internet memes on Reddit, including direct and indirect quotes, citations and allusions. A specific focus is going to be on such political internet memes that employ pop cultural and telecinematic reference points and recontextualize them from their original into new target contexts (see Bublitz 2015; Gruber 2019). As shall be shown, practices such as combining constructed speech elements into recontextualized elements in political internet memes create multiple intertextual references that may enhance visibility, saliency and, thus, the ‘lifetime’ of a political meme.

scholarly journals Bringing the banjo back to life: The field of Dutch independent folk music as participatory culture

First Monday ◽  
2016 ◽  
Author(s):  
Niels van Poecke ◽  
Janna Michael
Keyword(s):  
The Netherlands ◽  
Web 2.0 ◽  
Folk Music ◽  
Social Experience ◽  
Participatory Culture ◽  
Small Scale ◽  
The Internet ◽  
Social Production ◽  
The Social ◽  
The Creation

In this paper we investigate factors underlying the production of independent folk music (indie folk) in the Netherlands. By studying the creation, distribution and reception of indie folk music through in-depth interviewing, we argue that the social production of indie folk music is affected by a shift towards ‘participatory culture’ brought about by the rise of the Internet and Web 2.0. We note how Web 2.0 helps musicians to educate themselves and to develop careers in music. Secondly, from the perspective of both musicians and gatekeepers, participatory culture links their preferences for participatory aesthetics, decreasing boundaries between creators, distributors and users. Within the idiom of folk music, they distinguish themselves from the mainstream, creating more sincere performances. Thirdly, from the perspective of the audience, fans actively contribute by organizing small-scale events, enabling the audience to establish (trans)local scenes, reframing music as a social experience.

scholarly journals Internet – the First Source of (dis)Information

2020 ◽  
Vol 25 (2) ◽  
pp. 97-116
Author(s):  
Danuta Smołucha
Keyword(s):  
Digital Communication ◽  
Participatory Culture ◽  
The Internet ◽  
Communication Tools ◽  
Media Messages ◽  
Internet Users ◽  
Private And Public ◽  
Information Manipulation ◽  
Media Corporations ◽  
Instantaneous Distribution

The Internet is the first medium in which controlling the content has become difficult or even impossible. One of its reasons is the fact that the Internet users – who so far were only passive recipients of media messages – have gained the possibility to create and distribute their own messages. Thus, they have become active participants of the participatory culture, in which it is difficult to distinguish between professional and amateur content. The boundaries between private and public domains have become blurred. The distribution of forces shaping public opinion has changed, because the content comes from large media corporations and nonprofessional creators alike. The Internet message is characterized by instantaneous distribution, the ease of editing and modifying its content, and vagueness of authorship. These features make the Internet particularly susceptible to disinformation purposefully aimed at manipulating its users. The fact that every activity undertaken by the Internet users is recorded and analysed is also conducive to manipulation attempts, as the data obtained this way are used to shape their opinions and influence their decisions. The aim of the article is to undertake a discourse on information and disinformation on the Internet in the context of the development of new digital communication tools. The article provides the examples of information manipulation, which could happen only in such an interactive and multimedia medium as the Internet.

scholarly journals Internet memes in Covid-19 lockdown times in Poland

Comunicar ◽  
2021 ◽  
Vol 29 (67) ◽  
Author(s):  
Roza Norstrom ◽  
Pawel Sarna
Keyword(s):  
Social Media ◽  
Content Analysis ◽  
Narrative Analysis ◽  
Participatory Culture ◽  
The Internet ◽  
Redes Sociales ◽  
Common Category ◽  
The People ◽  
The Government ◽  
Ordinary Citizens

Poland was one of the countries that was hit by the Covid-19 pandemic in 2020, and its government imposed restrictions to combat the spreading of the virus. The Internet and social media became outlets for people’s reactions to the events that unfolded, including the lockdown. A part of this reaction came in the form of creating and sharing memes – an expression of digital participatory culture. This paper aims to analyze how Covid-19 was communicated and narrated through Internet memes and how they presented the pandemic and actors responsible for fighting it. 1,763 memes from six media platforms were analyzed using content analysis with framing elements and a comparative narrative analysis. The results show that the memes provided a form of commentary on the situation experienced by Poles. The most common category of memes was “bans and orders”, involving restrictions that were often criticized and ridiculed as pointless. The main characters within the memes were ordinary citizens, often portrayed in a comedic way as careless in regards to the virus and violating the restrictions. They were also presented as victims of the police and the government. Furthermore, the people responsible for fighting the pandemic were portrayed as incompetent and imposing needlessly severe restrictions and penalties for not abiding by them. Polonia fue uno de los países golpeados por la pandemia del Covid-19 en 2020, cuyo gobierno impuso restricciones para combatir la propagación del virus. Internet y las redes sociales se convirtieron en un escape para las reacciones de las personas a estos eventos, incluido el confinamiento. Una parte de esta reacción vino en forma de creación y difusión de memes, una expresión de la cultura digital y participativa. El presente estudio tiene como objetivo analizar cómo el Covid-19 fue comunicado y narrado a través de los memes en Internet y cómo fue presentada la pandemia y los responsables de combatirla. Fueron analizados 1.763 memes de seis medios empleando un análisis de contenidos con elementos de enmarque y análisis comparativo narrativo. Los resultados muestran que los memes fueron una forma de expresión sobre la situación vivida por los polacos. La categoría más popular fue la de «prohibiciones y órdenes», aludiendo a las restricciones que frecuentemente fueron criticadas y ridiculizadas como inútiles. El personaje principal de los memes fueron los ciudadanos, frecuentemente retratados de una manera cómica como personas irresponsables en cuanto al virus y violaciones de las restricciones. También fueron presentados como víctimas de la policía y el gobierno. Además, las personas responsables de combatir la pandemia fueron retratadas como incompetentes, al imponer restricciones y sanciones excesivamente estrictas por no obedecerlas.

YouTube-based accent challenge narratives: Web 2.0 as a context for studying the social value of accent

2018 ◽  
Vol 2018 (250) ◽  
pp. 137-163 ◽  
Author(s):  
Betsy Rymes ◽  
Andrea Leone-Pizzighella
Keyword(s):  
Web 2.0 ◽  
Possible Worlds ◽  
Ways Of Knowing ◽  
Participatory Culture ◽  
Social Value ◽  
The Internet ◽  
Information Analysis ◽  
The Social ◽  
Collaborative Construction ◽  
Youtube Videos

AbstractThis article illustrates how, in a Web 2.0 environment, narrative ways of knowing circulate and disseminate indexical value associated with performances of accent. We compare the information-storing and -sharing functions of Web 1.0 and Web 2.0, making an analogy between these two conceptualizations of the Internet and Jerome Bruner’s two different modes of knowing in his (1986) bookActual minds, possible worlds: logico-scientific and narrative. Just as analyses of Web 2.0 discourse highlight collaborative construction, dissemination, and uptake of information, analysis of narrative illuminates the accrual of sociocultural meaning in collaboratively constructed stories. We use discourse and narrative analytic methods to investigate the social indexicality of “accent” in a corpus of Philadelphia Accent Challenge YouTube videos (and the associated comment sections), and we illustrate how indexical value accrues via the snowballing of reflexive metacommentary in the form of narratives about these accent performances. We argue that discourse in Web 2.0 affords narrative ways of recirculating certain emblematic features of accent. This perspective on analyzing YouTube video-based accent data illuminates the value of YouTube accent performances as a source of linguistic anthropological and narrative insight, and narrative modes of knowing as a means of circulating language ideological discourse via Internet-based participatory culture.

scholarly journals Tilrettelagt deltagelse: Happy-deltagelsesformer

2014 ◽  
Vol 42 (118) ◽  
pp. 101-112
Author(s):  
Sara Malou Strandvad ◽  
Connie Svabo
Keyword(s):  
Media Studies ◽  
Network Theory ◽  
Actor Network Theory ◽  
Participatory Culture ◽  
The Internet ◽  
Audience Participation ◽  
Culture Studies ◽  
Actor Network

Illustrated with the case of Pharrell William’s global hit Happy and its life on the internet, this paper looks into how audience participation can be scripted and how scripted forms of participation can morph. Positioned in participatory culture studies, originating from cultural and media studies, this paper proposes a perspective inspired by actor-network theory that highlights the script entail in planned participation and the ways in which this script may sometimes be followed and sometimes also be used as a repertoire to improvise over. Based in empirical examples from Happy the paper outlines four ways of making audiences participate: as cast in well-defined productions, as interactive audience participating by clicking, liking and commenting, as crew conducing a set assignment in a larger production, and as re-producers making their own versions of an original format. With these four forms participation, the paper suggests seeing participatory culture as a multiple and on-going phenomenon where planners aim to configure users and users contribute with re-configurations that planners may take up. 

scholarly journals Edukacja wersja beta. Pokolenie Z i pokolenie Alfa a kompetencje uczestnictwa w kulturze

2017 ◽  
Vol 4 (50) ◽  
pp. 86-95 ◽  
Author(s):  
Grzegorz D. Stunża
Keyword(s):  
Mobile Devices ◽  
Digital Literacy ◽  
Formal Education ◽  
Participatory Culture ◽  
Relational Model ◽  
The Internet ◽  
Social Situations ◽  
Generation Z ◽  
Educational Challenges ◽  
Universal Solution

The article outlines the characteristics of the socalled generation Z - people born after 1995 and generation Alpha - people born after 2010. The description of these groups is accompanied by educational considerations on technology developments, which lead to create the generations that are commonly using mobile devices and treat them as the access points to the Internet. What are the pedagogical consequences of such new educational and social situations? Characteristics of generation Z and Alpha and information on media development and educational challenges will form the basis for reflection on the competencies which should be or not developed in order to build a participatory culture. I will also ask about competences needed for active participation in culture. Should we go beyond the relational model of digital literacy and promote more universal solution for all stages of formal education?

scholarly journals The Power of Crowdcourcing and Participatory Culture: Beauty Vlogger Analysis on Wardah Cosmetic Brand

2021 ◽  
Vol 13 (2) ◽  
pp. 308
Author(s):  
Atikah Putri Adrilia Gultom
Keyword(s):  
Muslim Women ◽  
Participatory Culture ◽  
The Internet ◽  
Synthesis Methods ◽  
Cosmetic Products ◽  
Top Down ◽  
The Public ◽  
Digital Era ◽  
Advertising Strategies ◽  
Conceptual Paper

Advances in technology and the internet have fundamentally changed the way we consume media and generate innovation, including in the fields of advertising and marketing. Participatory culture and crowdsourcing by beauty vloggers change the power patterns (top-down, bottom-up or both) that the industry has in implementing advertising strategies. In addition, the strength of individuals in a participatory culture arises because of various media such as video blogs or websites that allow individuals to share comments and reviews. This situation provides an opportunity for beauty vloggers with the power they have to distribute their power, so that strength is not absolutely in the industry. Meanwhile, from the industry side, you can use beauty vlogger services to become a marketing strategy. This conceptual paper uses literature review and meta-synthesis methods to discuss the power possessed by beauty vloggers through participatory culture and crowdsourcing as well as linking it to Wardah cosmetic products as one of the products using the halal concept. The purpose of this research is to see the power possessed by beauty vloggers can influence the public using the local makeup brand Wardah and Wardah power as a local halal makeup brand so that it is attractive to Muslim women. Finally, the analysis of this conceptual paper shows that participatory culture and crowdsourcing have become very important entities in the dynamics of the advertising and marketing industry in the digital era.

scholarly journals The Digitalization of Worship Practices during the Coronavirus Pandemic in the Context of the Mediatization of Orthodoxy

2021 ◽  
Vol 39 (1) ◽  
pp. 39-57
Author(s):  
Xenia Luchenko ◽  
Keyword(s):  
Participatory Culture ◽  
The Internet ◽  
Video Content ◽  
Shared Experience ◽  
Emotional Involvement ◽  
Production And Consumption ◽  
Church Life ◽  
Worship Practices ◽  
Communication Practices ◽  
Online Forms

The article describes how the closure of churches during the Easter period due to the COVID‑19 pandemic and the quarantine measures led to the shift of everyday liturgical and communication practices to online forms. The experience of distance church life” in April‑June 2020 has shown that both the mediatization of Orthodoxy and the development of Orthodox segment of the internet reached a fundamentally new stage. The author examines this stage using the concept of participatory culture introduced by Henry Jenkins and the cultural studies approaches based on the categories of interactivity and immersion. The shared experience of online worship over a span of several months and the degree of participants’ co‑presence and emotional involvement point to a new level of mediatization that entailed the production and consumption of textual, audio and video content in the course of vertical and horizontal communication. This experience also showed the active development of participatory practices, including the strengthening of interactivity of worship, the unprecedented intensity of immersion, and the prospects of substantial changes in the liturgical life driven by digitalization.

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