scholarly journals (Not) Very Important People: Millennial Fantasies of Mobility in the Age of Excess

2022 ◽  
Vol 10 (1) ◽  
Author(s):  
Susan Hopkins
Keyword(s):  
New York ◽  
New Media ◽  
Young Women ◽  
Millennial Generation ◽  
Financial Capital ◽  
Sexual Objectification ◽  
Middle Aged ◽  
Media Image ◽  
Important People ◽  
French Riviera

In her fascinating but frustrating new book, <em>Very Important People: Status and Beauty in the Global Party Circuit</em>, American sociologist, Ashley Mears (2020) offers both academic and mainstream readers a titillating, cross-over tour around the “cool” nightclub and party scene of the “global elite.” It is perhaps not so much global, however, as American, in the sense of the heteropatriarchal, middle-aged, male, working rich of America (or more precisely of its financial capital New York), jetting into their traditional party hotspots of Miami, Saint-Tropez, or the French Riviera, to party with young women who are (indirectly) paid (in-kind) to pose with them. Whether intentional or unintentional, along the way Mears also offers a dark mirror to the fears and fantasies of a rather lost millennial generation, raised in a new media, image age, which has coupled fast and furious performative excess to old fashioned sexual objectification, in the guise of fun and empowerment for the beautiful people.

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

Reviews

Screen Bodies ◽  
2018 ◽  
Vol 3 (2) ◽  
pp. 86-98
Author(s):  
Josh Morrison ◽  
Sylvie Bissonnette ◽  
Karen J. Renner ◽  
Walter S. Temple
Keyword(s):  
New York ◽  
New Media ◽  
The Body ◽  
Media Art ◽  
University Of Minnesota ◽  
Body Images ◽  
New Media Art

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

scholarly journals Métodos digitais e a memória acessada por APIs: desenvolvimento de ferramenta para extração de dados de portais jornalísticos a partir da WayBack Machine

2015 ◽  
Vol 1 (2) ◽  
pp. 23
Author(s):  
Marcio Carneiro Dos Santos
Keyword(s):  
New York ◽  
Data Collection ◽  
New Media ◽  
Natural Language ◽  
Language Processing ◽  
Literary History ◽  
Markup Language ◽  
Digital Repository ◽  
Princeton University ◽  
Hypertext Markup Language

Explora-se a possibilidade de automação da coleta de dados em sites, a partir da aplicação de código construído em linguagem de programação Python, utilizando a sintaxe específica do HTML (HiperText Markup Language) para localizar e extrair elementos de interesse como links, texto e imagens. A coleta automatizada de dados, também conhecida como raspagem (scraping) é um recurso cada vez mais comum no jornalismo. A partir do acesso ao repositório digital do site www.web.archive.org, também conhecido como WayBackMachine, desenvolvemos a prova de conceito de um algoritmo capaz de recuperar, listar e oferecer ferramentas básicas de análise sobre dados coletados a partir das diversas versões de portais jornalísticos ao longo do tempo. PALAVRAS-CHAVE: Raspagem de dados. Python  Jornalismo Digital.  HTML. Memória.  ABSTRACTWe explore the possibility of automation of data collection from web pages, using the application of customized code built in Python programming language, with specific HTML syntax (Hypertext Markup Language) to locate and extract elements of interest as links, text and images. The automated data collection, also known as scraping is an increasingly common feature in journalism. From the access to the digital repository site www.web.archive.org, also known as WayBackMachine, we develop a proof of concept of an algorithm able to recover, list and offer basic tools of analysis of data collected from the various versions of newspaper portals in time series.KEYWORDS: Scraping. Python. Digital Journalism. HTML. Memory. RESUMENSe explora la posibilidad de automatización de los sitios de recolección de datos, desde el código de aplicación construida en lenguaje de programación Python, utilizando la sintaxis específica de HTML (Hypertext Markup Language) para localizar y extraer elementos de interés, tales como enlaces, texto e imágenes. La colección de datos automatizada, también conocido como el raspado es una característica cada vez más común en el periodismo. Desde el acceso a la www.web.archive.org, sitio de repositorio digital, también conocida como WayBackMachine, desarrollamos una prueba de concepto de un algoritmo para recuperar, listar y ofrecer herramientas básicas de análisis de los datos recogidos de las diferentes versiones de portales de periódicos en el tiempo. PALABRAS CLAVE: Raspar datos. Python. Periodismo digital. HTML. Memoria. ReferênciasBIRD, Steven; LOPER, Edward; KLEIN, Ewan. Natural Language Processing with Python: analyzing text with the Natural Language Toolkit. New York: O'Reilly Media Inc., 2009.BONACICH, Phillip; LU, Phillip. Introduction to mathematical sociology. New Jersey: Princeton University Press, 2012.BRADSHAW, Paul. Scraping for Journalists. Leanpub, 2014, [E-book].GLEICK, James. A Informação. Uma história, uma teoria, uma enxurrada. São Paulo, Companhia das Letras, 2013.MANOVICH, Lev. The Language of New Media. Cambrige: Mit Press, 2001.MORETTI, Franco. Graphs, maps, trees. Abstract models for literary history. New York, Verso, 2007.ROGERS, Richard. Digital Methods. Cambridge: Mit Press, 2013. E-book.SANTOS, Márcio. Conversando com uma API: um estudo exploratório sobre TV social a partir da relação entre o twitter e a programação da televisão. Revista Geminis, ano 4 n. 1, p. 89-107, São Carlos. 2013. Disponível em: . Acesso em: 20 abr. 2013.SANTOS, Márcio. Textos gerados por software. Surge um novo gênero jornalístico. Anais XXXVII Congresso Brasileiro de Ciências da Comunicação. Foz do Iguaçu, 2014. Disponível em: . Acesso em 26 jan. 2014. Disponível em:Url: http://opendepot.org/2682/ Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals A crise do jornalismo: ecos e silêncios nas práticas e nas narrativas

2015 ◽  
Vol 1 (2) ◽  
pp. 117 ◽  
Author(s):  
Christa Liselote Berger Ramos Kuschick ◽  
Vanessa Hauser
Keyword(s):  
New York ◽  
New Media ◽  
New York Times ◽  
Sao Paulo ◽  
São Paulo ◽  
Mainstream Media ◽  
El Sistema ◽  
History Of ◽  
Social Reference ◽  
History Of Journalism

Pesquisadores e jornalistas dedicam-se a compreender que tensionamentos abalam o sistema de produção de sentido que até então ostentava certa hegemonia como discurso que representa um presente social de referência (GOMIS, 1999). Este artigo reflete sobre o modo como a crise do jornalismo tem aparecido nos discursos e nas práticas da própria imprensa. A suspeita inicial é a de que a crise configura-se em acontecimento silenciado pela mídia hegemônica. Por outro lado, inevitavelmente ela transparece também nas práticas jornalísticas, uma vez que tem atingido de forma intensa a estrutura de funcionamento das redações. Além disso, tem provocado os jornalistas a reverem suas competências e o campo a transformar - de certo modo - seus pressupostos e modos de fazer.PALAVRAS-CHAVE: crise do jornalismo; práticas; hegemonia; futuro do jornalismo.  ABSTRACTResearchers and journalists are dedicated to understand the tensions that shake the production system of journalism, which has had certain hegemony as social reference speech  (GOMIS, 1999). This article reflects on how the crisis journalism has appeared in speeches and in the press itself practices. The initial suspicion is that the crisis sets in muted event by the mainstream media. Moreover, it inevitably also transpires in newspaper practice, once it has reached the working structure of essays. It has caused journalists to review their skills and transform the field - in a way - their assumptions and ways of doing.KEYWORDS: journalism crisis; practices; hegemony; future of journalism. RESUMENLos investigadores y periodistas se dedican a entender las tensiones que sacuden el sistema de producción de sentidos del periodismo que hasta ahora se jactó cierta hegemonia. En este artículo se reflexiona sobre cómo ha aparecido la crisis del periodismo en los discursos y en las prácticas de la prensa. La sospecha inicial es que la crisis ha sido silenciada por los grandes medios. Por otra parte, inevitablemente también transpira en la práctica periódistica, una vez que ha alcanzado la estructura de trabajo de las salas de prensa. Además, se ha provocado a los periodistas a revisar sus habilidades y transformar el campo - de una manera - sus supuestos y formas de hacer.PALABRAS CLAVE: crisis del periodismo; prácticas; la hegemonía; futuro del periodismo. ReferênciasBLANCHAR, Clara. Wikileaks y "los viejos del lugar". El País, 2010. Disponível em: .BOLTER, J.D; GRUSIN, R. Remediation: understanding new media. Cambridge, Mass: MIT Press, 2000.DEMO, Pedro. Metodologia Científica em Ciências Sociais. São Paulo: Atlas, 1995.GENRO FILHO, Adelmo. O segredo da pirâmide: para uma teoria marxista do jornalismo. Porto Alegre: Ortiz, 1989.GOMIS, Lorenzo. Teoria del periodismo: cómo se forma el presente. Barcelona: Paidós, 1991GROTH, Otto. O poder cultural desconhecido: fundamentos da ciência dos jornais. Petrópolis, RJ: Vozes, 2011.HEGEL, G.W.F. A fenomenologia do espírito. Parte 1. Tradução: Paulo Meneses. Petrópolis: Vozes, 1992.HENN, Ronaldo. El Ciberacontecimento: producción y semioses. Barcelona: Editorial UOC e InconUAB, 2014.ISAACSON, Walter. How to save your newspaper. Time Magazine, 2009. Disponível em: < http://time.com/3270666/how-to-save-your-newspaper/>JORGE, Thaïs de Mendonça. Mutação no jornalismo. Como a notícia chega à internet. Brasília: Editora UnB, 2013.LAFUENTE, Gumersindo. A melhor maneira de fazer jornalismo é pela internet: entrevista com Gumersindo Lafuente Parte 1. In: MAROCCO, Beatriz. O jornalista e a prática: entrevistas. São Leopoldo: Editora Unisinos, 2012, p. 211-218.______. ¿Como hemos llegado hasta aquí? Cuadernos de Comunicación Evoca, Madrid, 2012.LEAL, Bruno Sousa et. all. A "crise do jornalismo": o que ela afirma, o que ela esquece. Encontro Nacional de História da Mídia, Ouro Preto (MG), 2013. Anais...Ouro Preto, 2013. Disponível em: < http://www.ufrgs.br/alcar/encontros-nacionais-1/9o-encontro-2013/artigos/gt-historia-do-jornalismo/a-201ccrise201d-do-jornalismo-o-que-ela-afirma-o-que-ela-esquece >. Acesso em 20 de junho de 2014.NOBRE, Marcos. Notícia em Crise. Folha de S. Paulo, 2008.NOCI, Javier Díaz. A History of Journalism on the Internet: A state of the art and some methodological trends. Revista Internacional de Historia de la Comunicación, n. 1, 2013, p. 253-272.______.Definición teórica de las características del ciberperiodismo: elementos de la comunicacion digital. Doxa Comunicación, n. 6, 2008, p. 53 - 91.PAVLIK, John. Entretenimento e informação no envolvimento da audiência (entrevista a Andriolli Costa). Revista do Instituto Humanitas Unisinos. São Leopoldo: Unisinos, 2014.RAMONET, Ignacio. A explosão do jornalismo: das mídias de massa à massa de mídias. São Paulo: Publisher Brasil, 2012.SEIBT, Taís. Redação Integrada: a experiência do jornal Zero Hora no processo de convergência jornalística. 2014. 135 f. Dissertação (Mestrado em Ciências da Comunicação) - Programa de Pós-Graduação em Ciências da Comunicação, Universidade do Vale do Rio dos Sinos. São Leopoldo, 2014.STEPHENS, Mitchell. Beyond News: The Futuro of Journalism. New York: Columbia, 2014.THE NEW YORK TIMES. Inovation. New York, 2014.  Disponível em:Url:  http://opendepot.org/2687/ Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals Dissimulation

M/C Journal ◽  
2020 ◽  
Vol 23 (3) ◽  
Author(s):  
Daniel De Zeeuw ◽  
Marc Tuters
Keyword(s):  
New York ◽  
Social Media ◽  
New Media ◽  
Digital Media ◽  
Identity Politics ◽  
Current Mode ◽  
Digital Culture ◽  
Trace Back ◽  
Rule Sets ◽  
The Web

At the fringes of the platform economy exists another web that evokes an earlier era of Internet culture. Its anarchic subculture celebrates a form of play based based on dissimulation. This subculture sets itself against the authenticity injunction of the current mode of capitalist accumulation (Zuboff). We can imagine this as a mask culture that celebrates disguise in distinction to the face culture as embodied by Facebook’s “real name” policy (de Zeeuw and Tuters). Often thriving in the anonymous milieus of web forums, this carnivalesque subculture can be highly reactionary. Indeed, this dissimulative identity play has been increasingly weaponized in the service of alt-right metapolitics (Hawley).Within the deep vernacular web of forums and imageboards like 4chan, users play by a set of rules and laws that they see as inherent to online interaction as such. Poe’s Law, for example, states that “without a clear indicator of the author's intent, it is impossible to create a parody of extreme views so obviously exaggerated that it cannot be mistaken by some readers for a sincere expression of the parodied views”. When these “rule sets” are enacted by a massive angry white teenage male demographic, the “weapons of the geek” (Coleman) are transformed into “toxic technoculture” (Massanari).In light of an array of recent predicaments in digital culture that trace back to this part of the web or have been anticipated by it, this special issue looks to host a conversation on the material practices, (sub)cultural logics and web-historical roots of this deep vernacular web and the significance of dissimulation therein. How do such forms of deceptive “epistemological” play figure in digital media environments where deception is the norm —  where, as the saying goes, everyone knows that “the internet is serious business” (which is to say that it is not). And how in turn is this supposed culture of play challenged by those who’ve only known the web through social media?Julia DeCook’s article in this issue addresses the imbrication of subcultural “lulz” and dissimulative trolling practices with the emergent alt-right movement, arguing that this new online confluence  has produced its own kind of ironic political aesthetic. She does by situating the latter in the more encompassing historical dynamic of an aestheticization of politics associated with fascism by Walter Benjamin and others.Having a similar focus but deploying more empirical digital methods, Sal Hagen’s contribution sets out to explore dissimulative and extremist online groups as found on spaces like 4chan/pol/, advocating for an “anti-structuralist” and “demystifying” approach to researching online subcultures and vernaculars. As a case study and proof of concept of this methodology, the article looks at the dissemination and changing contexts of the use of the word “trump” on 4chan/pol/ between 2015 and 2018.Moving from the unsavory depths of anonymous forums like 4chan and 8chan, the article by Lucie Chateau looks at the dissimulative and ironic practices of meme culture in general, and the subgenre of depression memes on Instagram and other platforms, in particular. In different and often ambiguous ways, the article demonstrates, depression memes and their ironic self-subversion undermine the “happiness effect” and injunction to perform your authentic self online that is paradigmatic for social media platforms like Facebook and Instagram. In this sense, depression meme subculture still moves in the orbit of the early Web’s playful and ironic mask cultures.Finally, the contribution by Joanna Zienkiewicz looks at the lesser known platform Pixelcanvas as a battleground and playfield for antagonistic political identities, defying the wisdom, mostly proffered by the alt-right, that “the left can’t meme”. Rather than fragmented, hypersensitive, or humourless, as online leftist identity politics has lately been criticized for by Angela Nagle and others, leftist engagement on Pixelcanvas deploys similar transgressive and dissimulative tactics as the alt-right, but without the reactionary and fetishized vision that characterises the latter.In conclusion, we offer this collection as a kind of meditation on the role of dissimulative identity play in the fractured post-centrist landscape of contemporary politics, as well as a invitation to think about the troll as a contemporary term by which "our understanding of the cybernetic Enemy Other becomes the basis on which we understand ourselves" (Gallison).ReferencesColeman, Gabriella. Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous. New York: Verso, 2014.De Zeeuw, Daniël, and Marc Tuters. "Teh Internet Is Serious Business: On the Deep Vernacular Web and Its Discontents." Cultural Politics 16.2 (2020): 214–232.Galison, Peter. “The Ontology of the Enemy.” Critical Inquiry 21.1 (2014): 228–66.Hawley, George. Making Sense of the Alt-Right. New York: Columbia UP, 2017.Massanari, Adrienne. “#Gamergate and the Fappening: How Reddit’s Algorithm, Governance, and Culture Support Toxic Technocultures.” New Media & Society 19.3 (2016): 329–46.Zuboff, Shoshana. The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. New York: PublicAffairs, 2019.

scholarly journals A Critical and Semiotic Approach to the Wonderful, Horrible Life Cycle of the Kony 2012 Viral Video

2014 ◽  
Vol 12 (1) ◽  
pp. 214-237
Author(s):  
Fernando Andacht
Keyword(s):  
New York ◽  
New Media ◽  
Media Effects ◽  
Communication Theory ◽  
New York Times ◽  
Analytical Framework ◽  
Visual Media ◽  
Audience Response ◽  
Media Effect ◽  
Iconic Signs

Is it possible or plausible to represent horror and evil persuasively or authentically in these internet-multi-distributed times? And how can we account for a vast, belligerent reaction of public opinion when the representation of horror or evil is watched by an unprecedented, massive amount of people in North America and elsewhere in the YouTube realm? The unparalleled audience success of an unusually lengthy audiovisual narrative uploaded on YouTube whose subject matter is the quest for justice in East Africa was as remarkable as the diverse audience response of dismay, hope, joy and anger it elicited. The reaction was expressed in traditional print media (e.g. a special issue of The New York Times), in countless blogs and in YouTube – through assorted video-responses and written remarks, many of which were so disparaging that this function was disabled for the Kony 2012 video on YouTube. To try to account for the outpour of supportive viewers and of an increasingly negative response, I analyse its visual rhetoric and also some the critical remarks it triggered. The main strategy of the video consists in what I have described elsewhere as the “index appeal” of popular factuality programming (reality shows, docudramas, talk shows and documentaries), namely, the prevalence of allegedly involuntary signs aimed at producing intense emotions in viewers. Peirce’s semiotic theory of indexicality – as well as of iconic and of symbolic signs – is central to my analytical approach, as well as his critique of dualism. I also revisit a 1948 paper of two seminal figures in the pantheon of communication theory, P. Lazarsfeld and R. Merton. Their functionalist analysis of media effects posits a peculiar “narcotizing dysfunction” to account for the apathy produced in the audience despite the increasing intake of media information by the population. This paradoxical media effect posited by early functionalism, I think, is akin to what is harshly criticized over sixty years later about the significant impact produced by the Kony 2012 video on its vast public. Through the case study of a visual media narrative that gathered an audience as large as a populous nation in less than a week, and an equally impressive array of biting critical views in both traditional and new media, the article aims to account for its remarkable success and its ulterior proclaimed failure as a humanitarian campaign in the streets. I will do so by revisiting the early functionalist critique of mass media effects within the analytical framework of the action of indexical-iconic signs in the age of YouTube.

Introduction

2017 ◽  
Author(s):  
Ashley D. Farmer
Keyword(s):  
Black Woman ◽  
Mixed Media ◽  
Free Food ◽  
Full Length ◽  
The Other ◽  
Voter Registration ◽  
Middle Aged ◽  
Media Image ◽  
Party Support ◽  
Black Panther

As readers finished the July 1, 1972, edition of the Black Panther Party’s newspaper, they found a full-length, mixed-media image of a middle-aged black woman on the back page. The woman, dressed in hair rollers, a collared shirt, an apron, and no shoes, stares directly at the viewer, one hand on her hip; the other supports a bag of groceries from the Panthers’ free food program. The woman also prominently displays her button in support of Panther leader Bobby Seale’s mayoral campaign. The caption above contextualizes the woman’s politics and party support: “Yes, I’m against the war in Vietnam, I’m for African Liberation, voter registration and the people’s survival!”...

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