scholarly journals Pushing the Next Level: Investigating Digital Content Creation in India

2019 ◽  
pp. 152747641986169 ◽  
Author(s):  
Smith Mehta ◽  
D. Bondy Valdovinos Kaye
Keyword(s):  
Digital Media ◽  
Holistic Approach ◽  
Digital Content ◽  
Future Research ◽  
Online Content ◽  
Content Creation ◽  
Professional Activities ◽  
The Past ◽  
Depth Interviews ◽  
Export Product

Film, television, and music form a major domestic and export product in India. Whereas, in the past, content production has been restricted to professional producers, digital media platforms have drastically altered the landscape of content production in India. Through in-depth interviews of ten online content creators, the article describes motivations of online content creation in India. Discussion themes include professional activities, identity construction of creators, and quasi-corporate structures that are taking root in the democratized digital spaces in India. In doing so, the article challenges the notion of creators on social media as mere “amateurs” or “UGC” (user-generated content). Conclusions from this study suggest future research should take a more holistic approach to studying online content creators rather than classifying creators on the basis of platform affordances.

Haunted by the past: transformations and daily challenges of China's prosthetics

2020 ◽  
Vol 10 (1) ◽  
pp. 115-124
Author(s):  
Chunchun Wang
Keyword(s):  
Design Methodology ◽  
Cross Cultural ◽  
Future Research ◽  
Institutional Pressures ◽  
Rehabilitation Center ◽  
Content Type ◽  
The Past ◽  
Daily Experiences ◽  
History Of ◽  
Depth Interviews

PurposeThe purpose of this paper is to examine the transformations of prosthetic practices in China, as well as the daily experiences and dilemmas arising from the everchanging practices since 1949. On the basis of materials, this paper explores an everyday perspective to review the history of technology.Design/methodology/approachEthnography was collected with the application of participant observations, informal interviews and in-depth interviews during a 13-months study at a rehabilitation center in Chengdu, China. The literature on prosthetic manufacturing was also reviewed for this paper.FindingsChina's prosthetic technology seems to evolve from traditional to modern. However, this progressive narrative – innovation-based timeline (Edgerton, 2006, xi) – has been challenged by daily practices. Due to institutional pressures, prosthetists are in a dilemma of selectively using their knowledge to create one kind of device for all prosthesis users with a certain kind of disability, thereby regulating the physical and social experiences of prosthesis users. Besides, prosthesis users are accustomed to prostheses made with old techniques, and must correct themselves from old experiences to the daily practices recognized by the selected techniques.Originality/valueThis paper provides a cross-cultural case to reexamine Edgerton's criticism of the progressive and orderly innovation-centric technological narrative. More importantly, it reviews the history and practices of China's prosthetics from daily experiences rather than Edgerton's concentration on technology; therefore, it provides an everyday perspective for future research on technological transformations.

scholarly journals Avatars, Monsters, and Machines: A Cyborg Archaeology

2019 ◽  
Vol 22 (3) ◽  
pp. 324-337 ◽  
Author(s):  
Colleen Morgan
Keyword(s):  
Digital Media ◽  
Future Research ◽  
Archaeological Research ◽  
Creative Potential ◽  
The Past

As digital practice in archaeology becomes pervasive and increasingly invisible, I argue that there is a deep creative potential in practising a cyborg archaeology. A cyborg archaeology draws from feminist posthumanism to transgress bounded constructions of past people as well as our current selves. By using embodied technologies to disturb archaeological interpretations, we can push the use of digital media in archaeology beyond traditional, skeuomorphic reproductions of previous methods to highlight ruptures in thought and practice. I develop this argument through investigating the avatars, machines, and monsters in current digital archaeological research. These concepts are productively liminal: avatars, machines, and monsters blur boundaries between humans and non-humans, the past and the present, and suggest productive approaches to future research.

scholarly journals A decade of supply chain collaboration and directions for future research

2015 ◽  
Vol 20 (6) ◽  
pp. 613-630 ◽  
Author(s):  
Claudine Antoinette Soosay ◽  
Paul Hyland
Keyword(s):  
Supply Chain ◽  
Supply Chains ◽  
Holistic Approach ◽  
The Body ◽  
Future Research ◽  
Supply Chain Collaboration ◽  
Content Type ◽  
Humanitarian Supply Chains ◽  
The Past ◽  
Body Of Knowledge

Purpose – This paper aims to conduct a systematic review of the literature on supply chain collaboration published over a 10-year period from 2005 to 2014. It explores the nature and extent of research undertaken to identify key themes emerging in the field and gaps that need to be addressed. Design/methodology/approach – The authors review a sample of 207 articles from 69 journals, after using an iterative cycle of defining appropriate search keywords, searching the literature and conducting the analysis. Findings – Key themes include the meaning of collaboration; considerations for supply chain collaboration theory; emerging areas in collaboration for sustainability, technology-enabled supply chains and humanitarian supply chains; and the need for a more holistic approach, multi-tier perspectives and research into B2C collaborations. Research limitations/implications – The paper provides discussion and scope for future research into the area which would contribute to the field tremendously. Originality/value – There have been very few reviews in the past on supply chain collaboration, and this is one of the first extensive reviews conducted to address how well the body of knowledge on supply chain collaboration corresponds with our contemporary society.

Compensating Online Content Producers: A Theoretical Analysis

2021 ◽  
Author(s):  
Sanjay Jain ◽  
Kun Qian
Keyword(s):  
Theoretical Analysis ◽  
Revenue Sharing ◽  
Digital Content ◽  
Online Content ◽  
High Quality ◽  
Content Creation ◽  
Content Quality ◽  
Vast Amount ◽  
Customer Base ◽  
Digital Content Industry

The digital content industry is rapidly growing, and many platforms host a vast amount of content that is produced by independent producers. A major source of revenue for these platforms is advertising. However, advertising revenue depends on the number of active customers who visit the platform and enjoy content created by content producers. Therefore, major platforms provide incentives for content producers to encourage high-quality content creation. A commonly used incentive is ad revenue sharing. In this paper, we study how such sharing incentives are affected by the nature of competition among various producers, the size of customer base, and the type of customers. We also examine the implications for profits and welfare and extend the analysis to consider the case when the platform allows consumers to directly donate to the producers. Our results show that increased producer competition can lead to higher compensation for the producers, higher content quality, and higher producers’ profits. We also show that allowing consumers to donate to producers can lead to a higher commission rate and better-quality content. However, increased consumer generosity may lead to lower profits for content producers. In addition, we find that asymmetry among producers can sometimes benefit the platform. This paper was accepted by Matthew Shum, marketing.

Beyond Death: Inheriting the Past and Giving to the Future, Transmitting the Legacy of One's Self

2008 ◽  
Vol 56 (4) ◽  
pp. 313-329 ◽  
Author(s):  
Elizabeth G. Hunter
Keyword(s):  
Older Adults ◽  
Index Card ◽  
Making Meaning ◽  
Content Creation ◽  
The Past ◽  
Multiple Dimensions ◽  
Values And Beliefs ◽  
The Individual ◽  
Depth Interviews ◽  
Primary Form

This study explores the phenomenon of legacy as a component of the aging experience among women. Against a backdrop of prior focus on transmission of material possessions as the primary form of legacy, the concept is critically examined in developing an expanded, theoretically and empirically grounded perspective. In-depth interviews with 38 women, ranging in age from 31 to 94 and representing diverse marital, parental, and health statuses, reveal multiple dimensions of leaving a legacy in terms of content, creation, and transmission. Through the stories of the participants in this study, legacy emerges as a means of passing on the essence of one's self, in particular one's values and beliefs. Legacy is a method of leaving something behind after death and making meaning of the end of life. The desire to leave a legacy is manifest in many different ways dependent on the individual and their culture. While the idea of legacy is often couched in terms of material possessions, it appears that passing on values and beliefs is more important to older adults. Legacy—I was awakened to that idea while watching the movie Armistad. The man talks about how he is a collection of all of his ancestors. I never really thought about that before. I wrote this thing out on an index card and stuck it in my room. It says “I am all that I am for all that those have gone before me. I carry all of them in me.” When I was thinking about it in that way I thought wow, I have a lot to live up to. (Lisa K, 63 years old)

scholarly journals Indie media and digital community collaborations in public libraries

2014 ◽  
Vol 33 (4) ◽  
pp. 127-131 ◽  
Author(s):  
Jen Pecoskie ◽  
Heather L. Hill
Keyword(s):  
Digital Media ◽  
Public Libraries ◽  
Public Library ◽  
Digital Content ◽  
Cultural Products ◽  
Content Type ◽  
Content Creation ◽  
Current State ◽  
Digital Community ◽  
Library Users

Purpose – This paper aims to examine the current state of collecting with emphasis on small, independent and local digital media for the purpose of exploring librarians’ tools to develop unique collections with these types of cultural products included. Design/methodology/approach – This conceptual paper is based on examination of the current state of publishing and digital media, of case profiles of independent digital content providers, of case profiles of public libraries using digital media to expand collections and of collection developers’ tools, including reviewing sources. Findings – With regard to expanding collections from small, independent and local digital content providers, user-generated content (UGC) is offered as a tool for collection developers to use alongside other traditional reviewing sources. UGC allows for embedding collective voices into collection development practices to capture digital cultural products from these providers. Originality/value – This paper reflects on the current state of digital content creation and publishing, including the limitations and possibilities in place for the future of public library collections from both large publishing companies and smaller media creators. Non-traditional digital media are cultural products produced for consumption and reception; therefore, we consider how these materials fit into contemporary collections, how they are connected to public libraries and subsequently are made available to library users.

Weibo and the making of Chinese networked publics: Witness, debates and expertise

2018 ◽  
Vol 3 (2) ◽  
pp. 97-112 ◽  
Author(s):  
Eileen Le Han
Keyword(s):  
Digital Media ◽  
Public Engagement ◽  
Digital Culture ◽  
State Control ◽  
Public Interests ◽  
Content Creation ◽  
The Past ◽  
Major Transformation ◽  
Three Stages ◽  
Networked Publics

Through the analysis of the online discourses about Weibo in the past and present, this article examines how the platform has taken part in the shaping of Chinese networked publics and public participation as it has been undergoing three stages of development itself: collective witness, ideological contention, and networks of expertise. The three stages reflect a major transformation of social media and digital culture in China, from the civic-minded public engagement and activism to the celebration of individual online fame and monetization of content creation. This transformation is taking place at the tightening state control of digital media, suggesting a blurring boundary between corporate and public interests under such circumstance.

scholarly journals THE VIRTUAL ARTIST. VOCALOID AND AN EXPERIMENT ON ITS PERCEPTION

2021 ◽  
Vol 17 (1) ◽  
pp. 173-213
Author(s):  
MELISSA-LILI ARENDT ◽  
◽  
NATALIA NOWACK ◽  
Keyword(s):  
Digital Media ◽  
Musical Instrument ◽  
Future Research ◽  
New Era ◽  
The Past ◽  
The World ◽  
Alter Ego ◽  
The Voice ◽  
Shed Light

Over the past decade the voice synthesiser Vocaloid has gained great popularity in Japan. Critics debate on whether Vocaloid can be called a new musical instrument and if its creation marks a new era in (Japanese) popular music. The unique characteristic of a Vocaloid is its Alter Ego, its “virtual shape”, which is illustrated like common anime or manga characters such as Sailor Moon or Kamikaze Kaito Jeanne, thus owning not just a name but also human-like features. It was due to the use of avatar images that Vocaloid managed to spread across the world via the internet. The most famous anthropomorphic singer is called Hatsune Miku and is known for her long turquoise-coloured hair tied up in two ponytails. Being the uncrowned princess of Nico Nico Douga—the Japanese equivalent of YouTube, Miku opened up the pathway for even more Vocaloids like Luka Megurine or Rin and Len Kagamine. The contiguity of the new creating type to the “screen arts” is maintained by its own existence in the sphere of digital media. This new phenomenon is not very known in Europe, so the question on the principles of its existence is a vital one to discuss. Furthermore, we shall test how its music and appearance are perceived by people who do not belong to the fandom. How does a Non-Japanese listener react to a musical performance done by a computer program? One of the first answers to this question can be found in a study, which was conducted at the Martin-Luther-University in Halle (Saale), Germany. It focused on the reactions of the listeners. Although Europeans do not show as much interest in artificial intelligence as the Japanese, the test subjects showed great sympathy towards the singing program. The essay’s content is divided into four parts. It begins with a contemplation of Vocaloids sociological aspects (1), followed by the introduction of a selfproduced classification of its performances (2) and continues with an explanation on how the experimental research was conducted (3). The last part contains a summarised presentation of the results and a perspective on future research (4). The authors claim this research to be one of the very first tries to shed light on how the popularity of this new musical phenomenon can be explained.

scholarly journals ‘I Create Therefore I Virtually Exist’: Digital Content Creation, Virtual Consumption, and Motivation in Second Life

2016 ◽  
Vol 9 (2) ◽  
Author(s):  
Peter Nagy ◽  
Bernadett Koles
Keyword(s):  
Digital Media ◽  
Virtual Worlds ◽  
Second Life ◽  
Personal Characteristics ◽  
Ease Of Use ◽  
Digital Content ◽  
Content Creation ◽  
3D Virtual Worlds ◽  
Self Actualization ◽  
Virtual Consumption

User-generated content (UGC) has been receiving increasing attention given its spread throughout digital media platforms and applications. Previous research focusing on Web 2.0 based platforms highlighted linkages with personal characteristics, user attitudes, and social as well as individual motivators. Interestingly, UGC has not been addressed on other platforms such as 3D virtual worlds, and the purpose of the current study is to fill this gap in the literature. More specifically, we explore virtual content creation within the particular 3D virtual world of Second Life, via comparing key demographic, usage and motivational attributes of creator versus non-creator residents. Results revealed differential patterns as a function of age, gender and usage. Digital content creators were also more likely to purchase goods reflecting stability, expand greater financial resources on the Second Life Marketplace, and while acknowledging greater difficulty in ease of use, reported higher esteem and self-actualization. Implications for scholars and practitioners are discussed.

Effects of Image Upload on Social Media as Media Promotion in Journal Publishers

CCIT Journal ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 20-31
Author(s):  
Untung Rahardja ◽  
Ani Wulandari ◽  
Marviola Hardini
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Digital Content ◽  
Three Solutions ◽  
Conventional Process ◽  
Promotion System

Digital content is content in various formats, whether written, image, video, audio or combination so that it can be read, displayed or played by a computer and easily sent or hared through digital media. Digital content has abundant benefits, especially in the field of promotion. Where when a place of business or a body wants to introduce a product or service that is owned, it definitely requires content such as images as a promotional media. However, if you have to distribute posters to everyone you meet, it is not in line with current technological advancements because you are still using a conventional process. Therefore, to overcome this problem, social media can be used to process digital content easily and quickly. In this study, there are 3 (three) problems that will be overcome by 2 (two) methods, and 3 (three) solutions are produced. The advantage of digital content in social media is that it can be accessed anytime and anywhere, so it is concluded that the use of digital content in social media is able to overcome problems and is a creativepreneur effort found in the promotion system of a journal publisher.   Keywords—Digital Content, Creativepreneur, ATT Journal, Social Media

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