The Impact of Digitalization on Social Interaction and Public Space

2012 ◽  
Vol 37 (2) ◽  
pp. 92-99
Author(s):  
Susan J. Drucker ◽  
Gary Gumpert

The tradition of urban public space confronts the reality of a ubiquitous, mobile ‘me media’ filled environments. Paradoxically, the ability to connect globally has the tendency of disconnecting location. The examination of modern public spaces, diversity and spontaneity in those spaces requires recognition of the transformative power of changes in the media landscape. Compartmentalization or segregation of interaction based on choice shapes attitudes toward diversity. In the digital media environment the individual blocks, filters, monitors, scans, deletes and restricts while constructing a controlled media environment. Modern urban life is lived in the interstice between physical and mediated spaces (between physical local and virtual connection) the relationship to public space. Augmented with embedded and mobile media public spaces simultaneously offer those who enter a combination of connection and detachment. This paper utilizes a media ecology model.

2017 ◽  
Vol 8 (2) ◽  
pp. 1-16 ◽  
Author(s):  
Theodora Maniou ◽  
Kosmas Panagiotidis ◽  
Andreas Veglis

While the phenomenon of selfie photographs in the media has been extensively analysed by academics, Selfie Journalism was recently introduced and constitutes one of the most notable phenomena within the digital media environment, raising a number of issues relating to notions of infotainment and impartial reporting, especially in ‘difficult' sectors, such as politics. This paper identifies the specific characteristics of Selfie Journalism in political reporting. Based on both quantitative and qualitative research, the study analyses these characteristics in the period of parliamentary elections of 2016 in Cyprus. The aim of the study is dual: first, to examine the extensive use of Selfie Journalism by candidates themselves in political campaigning and, secondly, to examine the impact of this phenomenon upon the media and, in turn, media engagement in such political tactics. The greater scope of this study evolves around the argument that Selfie Journalism, as a new species of participatory journalism, has penetrated the media in an effort to attract larger audiences.


2019 ◽  
pp. 579-596
Author(s):  
Theodora Maniou ◽  
Kosmas Panagiotidis ◽  
Andreas Veglis

While the phenomenon of selfie photographs in the media has been extensively analysed by academics, Selfie Journalism was recently introduced and constitutes one of the most notable phenomena within the digital media environment, raising a number of issues relating to notions of infotainment and impartial reporting, especially in ‘difficult' sectors, such as politics. This paper identifies the specific characteristics of Selfie Journalism in political reporting. Based on both quantitative and qualitative research, the study analyses these characteristics in the period of parliamentary elections of 2016 in Cyprus. The aim of the study is dual: first, to examine the extensive use of Selfie Journalism by candidates themselves in political campaigning and, secondly, to examine the impact of this phenomenon upon the media and, in turn, media engagement in such political tactics. The greater scope of this study evolves around the argument that Selfie Journalism, as a new species of participatory journalism, has penetrated the media in an effort to attract larger audiences.


Large public screens have now become a ubiquitous part of the contemporary cityscape. Far from being simply oversized televisions, the media experts contributing to Ambient Screens and Transnational Public Spaces put forward a strong case that such screens could serve as important sites for cultural exchange. Advances in digital technology spell the possibilities of conducting mobile modes of interaction across national boundaries, and in the process expose the participants to novel sensory experiences, giving rise to a new form of public culture. Understanding this phenomenon calls for a reconceptualization of "public space" and "ambience," as well as connecting the two concepts with each other. This pioneering study of the impact of media platforms on urban cultural life presents a theoretical analysis and a history of screens, followed by discussions of site-specific urban screen practices on five continents. There is also a substantial examination of the world's first real-time cross-cultural exchange via the networking of large public screens located in Melbourne and Seoul.


DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.


Arts ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 8
Author(s):  
Sławomir Gawroński ◽  
Dariusz Tworzydło ◽  
Kinga Bajorek ◽  
Łukasz Bis

This article deals with the issues of architectural elements of public space, treated as components of art and visual communication, and at the same time determinants of the emotional aspects of political conflicts, social disputes, and media discourse. The aim of the considerations is to show, with the usage of the principles of critical analysis of media discourse, the impact of social events, political communication, and the activity of mass communicators on the perception of the monument of historical memory and the changes that take place within its public evaluation. The authors chose the method of critical analysis of the media discourse due to its compliance with the planned purpose of the analyses, thus, providing the opportunity to perform qualitative research, enabling the creation of possibly up-to-date conclusions regarding both the studied thread, and allowing the extrapolation of certain conclusions to other examples. The media material relating to the controversial Monument to the Revolutionary Act, located in the city of Rzeszów (Poland), was selected for the analysis. On this example, an attempt was made to evaluate the mutual relations between politically engaged architecture and art, and the contemporary consequences of this involvement in the social and political dimension.


Water ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 218
Author(s):  
Francesca Dal Cin ◽  
Fransje Hooimeijer ◽  
Maria Matos Silva

Future sea-level rises on the urban waterfront of coastal and riverbanks cities will not be uniform. The impact of floods is exacerbated by population density in nearshore urban areas, and combined with land conversion and urbanization, the vulnerability of coastal towns and public spaces in particular is significantly increased. The empirical analysis of a selected number of waterfront projects, namely the winners of the Mies Van Der Rohe Prize, highlighted the different morphological characteristics of public spaces, in relation to the approximation to the water body: near the shoreline, in and on water. The critical reading of selected architectures related to water is open to multiple insights, allowing to shift the design attention from the building to the public space on the waterfronts. The survey makes it possible to delineate contemporary features and lay the framework for urban development in coastal or riverside areas.


2020 ◽  
pp. 177-192
Author(s):  
Iman Hegazy

Public spaces are defined as places that should be accessible to all inhabitants without restrictions. They are spaces not only for gathering, socializing and celebrating but also for initiating discussions, protesting and demonstrating. Thus, public spaces are intangible expressions of democracy—a topic that the paper tackles its viability within the context of Alexandria, case study Al-Qaed Ibrahim square. On the one hand, Al-Qaed Ibrahim square which is named after Al-Qaed Ibrahim mosque is a sacred element in the urban fabric; whereas on the other it represents a non-religious revolutionary symbol in the Alexandrian urban public sphere. This contradiction necessitates finding an approach to study the characteristic of this square/mosque within the Alexandrian context—that is to realize the impact of the socio-political events on the image of Al-Qaed Ibrahim square, and how it has transformed into a revolutionary urban symbol and yet into a no-public space. The research revolves around the hypothesis that the political events taking place in Egypt after January 25th, 2011, have directly affected the development of urban public spaces, especially in Alexandria. Therefore methodologically, the paper reviews the development of Al-Qaed Ibrahim square throughout the Egyptian socio-political changes, with a focus on the square’s urban and emotional contextual transformations. For this reason, the study adheres to two theories: the "city elements" by Kevin Lynch and "emotionalizing the urban" by Frank Eckardt. The aim is not only to study the mentioned public space but also to figure out the changes in people’s societal behaviour and emotion toward it. Through empowering public spaces, the paper calls the different Egyptian political and civic powers to recognize each other, regardless of their religious, ethnical or political affiliations. It is a step towards replacing the ongoing political conflicts, polarization, and suppression with societal reconciliation, coexistence, and democracy.


Author(s):  
Alfredo Wijaya Putera

With the most dominant number, millennial generation is one generation which it has high income compared to the previous generation. This change has an impact on lifestyle, where one of  the  lifestyles  that  are  studied  and  understood  is  the  lifestyle   of   drinking   coffee. These lifestyle changes how community enjoying coffee, so coffee houses that exist especially in Jakarta try to adapt to this activity. Apart from that, the adaptation of coffee houses in Jakarta is also more oriented towards American culture, where its role is in the entry of coffee houses in Jakarta, especially in the era of the second wave. So the question is whether the changes in coffee houses in Jakarta are in accordance with the definition of public spaces in cities where they can contribute to providing life, especially in urban spaces. To find out more about this, type of coffee houses studied especially in Jakarta, and get results coffee houses in Jakarta as a public space specifically providing ‘life’ only in building and forget about his role as public space in urban. Considered this problem, studied about type of coffee house in the European region, which can solve about giving a urban life. From these results, type about coffee house in European tried to be rearranged and combined with type coffee houses in Jakarta, which can contribute a urban life in Jakarta. AbstrakDengan jumlah yang paling dominan saat ini, generasi milenial adalah salah satu generasi dimana mempunyai pendapatan yang tinggi dibandingkan dengan generasi sebelumnya. Perubahan ini berdampak dalam gaya hidup, dimana salah satu gaya hidup yang dikaji dan dibatasi adalah gaya hidup ngopi. Perubahan gaya hidup ini mempengaruhi perubahan aktifitas masyarakat dalam menikmati kopi, sehingga rumah kopi yang ada khususnya di Jakarta mencoba beradaptasi dengan aktifitas ini. Terlepas dari itu, adaptasi rumah kopi yang ada di Jakarta juga lebih berorientasi pada budaya Amerika, dimana perannya pada masuknya rumah kopi di Jakarta khususnya pada era the second wave. Sehingga yang menjadi pertanyaan adalah apakah perubahan rumah kopi yang ada di Jakarta sesuai dengan definisi ruang publik dalam kota dimana dapat berkontribusi dalam memberikan kehidupan, khususnya dalam ruang kota. Sehingga untuk mempelajari lebih lanjut mengenai permasalahan tersebut, maka disini dicoba di pelajari bagaimana tipe rumah kopi yang ada khususnya di Jakarta, dan didapatkan hasil bahwa rumah kopi yang ada di Jakarta dijadikan ruang publik yang lebih hidup bersifat ‘kedalam’ bangunan saja, menyampingkan sebagai fungsi ruang publik khususnya memberikan kehidupan dalam ruang kota. Sehingga dengan demikian dicoba di pelajari tipe rumah kopi khususnya yang ada di bagian daerah Eropa, dimana mempunyai ciri khusus dapat berkontribusi dalam memberikan kehidupan khususnya pada ruang kota yang di tempatinya. Dari hasil ini kemudian dicoba disusun ulang dan dikombinasikan dengan tipe rumah kopi yang ada di Jakarta, sehingga diharapkan tipe rumah kopi yang ada di Jakarta dapat berperan memberikan kehidupan khususnya pada ruang kota.


2020 ◽  
Vol 5 (2) ◽  
pp. 1-9
Author(s):  
Gabriela Christmann ◽  
Ajit Singh ◽  
Jörg Stollmann ◽  
Christoph Bernhardt

<p>This editorial introduces the subject matter of the thematic issue, which includes a diverse collection of contributions from authors in various disciplines including, history, architecture, planning, sociology and geography. Within the context of mediatisation processes—and the increased use of ever-expanding I&amp;C technologies—communication has undergone profound changes. As such, this thematic issue will discuss how far (digital) media tools and their social uses in urban design and planning have impacted the visualisation of urban imaginations and how urban futures are thereby communicatively produced. Referring to an approach originating from the media and communication sciences, the authors begin with an outline of the core concepts of mediatisation and digitalisation. They suggest how the term ‘visualisation’ can be conceived and, against this background, based upon the sociological approach of communicative constructivism, a proposal is offered, which diverges from traditional methods of conceptualising visualisations: Instead, it highlights the need for a greater consideration towards the active role of creators (e.g., planners) and recipients (e.g., stakeholders) as well as the distinctive techniques of communication involved (e.g., a specific digital planning tools). The authors in this issue illustrate how communicative construction, particularly the visual construction of urban futures, can be understood, depending upon the kind of social actors as well as the means of communication involved. The editorial concludes with a summary of the main arguments and core results presented.</p>


2013 ◽  
Vol 409-410 ◽  
pp. 883-886
Author(s):  
Bo Xuan Zhao ◽  
Cong Ling Meng

City, is consisting of a series continuous or intermittent public space images, and every image for each of our people living in the city is varied: may be as awesome as forbidden city Meridian Gate, like Piazza San Marco as a cordial and pleasant space and might also be like Manhattan district of New York, which makes people excited and enthusiastic. To see why, people have different feelings because the public urban space ultimately belongs to democratic public space, people live and have emotions in it. In such domain, people can not only be liberated, free to enjoy the pleasures of urban public space, but also enjoy urban life which is brought by the city's charm through highlighting the vitality of the city with humanism atmosphere. To a conclusion, no matter how ordinary the city is, a good image of urban space can also bring people pleasure.


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