scholarly journals MEDIA BARU DIGITAL SEBAGAI PERETAS KONTEKS KOMUNIKASI ANTAR PRIBADI DAN KELOMPOK

2018 ◽  
Vol 3 (2) ◽  
pp. 180
Author(s):  
Reza Praditya Yudha ◽  
Irwansyah Irwansyah Irwansyah

<p><em>Digital media creates a gap in the definition of the communication context </em><em>created by</em><em> West &amp; Turner (2010). Situational boundaries are increasingly unclear when in the whole process the number of participants, distance, space, feedback, media functions, and </em><em>variety of </em><em>channels are integrated. This study aims to analyze the implications of digital media functions in elaborating interpersonal communication to successfully mobilize groups. The study was conducted by reviewing the literature on new digital media theories. As a result</em><em>,</em><em> connectedness occurs as a character of interpersonal communication</em><em> in digital new media</em><em>. When the</em><em>se</em><em> context is </em><em>elaborated</em><em> by digital media</em><em> so that integrating more participants,</em><em> interaction is not just </em><em>merely</em><em> connection</em><em> anymore</em><em>, but focuses on shared meaning. At this point the context is </em><em>shift</em><em>ed into group communication.</em><em></em></p><p><em> </em></p><strong><em>Keywords</em></strong><em> : new digital media, communication context, interpersonal communication, group communication</em>

2019 ◽  
Vol 9 (3) ◽  
pp. 198 ◽  
Author(s):  
Elena Chatzara ◽  
Rigas Kotsakis ◽  
Nikolaos Tsipas ◽  
Lazaros Vrysis ◽  
Charalampos Dimoulas

Art and technology have always been very tightly intertwined, presenting strong influences on each other. On the other hand, technological evolution led to today’s digital media landscape, elaborating mediated communication tools, thus providing new creative means of expression (i.e., new-media art). Rich-media interaction can expedite the whole process into an augmented schooling experience though art cannot be easily enclosed in classical teaching procedures. The current work focuses on the deployment of a modern-art web-guide, aiming at enhancing traditional approaches with machine-assisted blended-learning. In this perspective, “machine” has a two-folded goal: to offer highly-interdisciplinary multimedia services for both in-class demonstration and self-training support, and to crowdsource users’ feedback, as to train artificial intelligence systems on painting movements semantics. The paper presents the implementation of the “Istoriart” website through the main phases of Analysis, Design, Development, and Evaluation, while also answering typical questions regarding its impact on the targeted audience. Hence, elaborating on this constructive case study, initial hypotheses on the multidisciplinary usefulness, and contribution of the new digital services are put into test and verified.


Author(s):  
Gianluca Mura

Interaction systems with the user need complex and suitable conceptual and multisensorial new media definition. This study analyzes social and conceptual evolutions of digital media and proposes an interactive mixed-space media model which communicates the information contents and enhances the user experience between interactive space of physical objects and online virtual space. Its feedback gives information through user performance among its multisensorial interfaces. The research widens previous research publications, and gives precisely a definition of a fuzzy logic cognitive and emotional perception level to the metaplastic multimedia model. It augments the interaction quality within its conceptual media space through an action-making loop and gives as a result new contents of information within its metaplastic metaspace configurations.


2016 ◽  
Vol 44 (4) ◽  
pp. 562-586 ◽  
Author(s):  
Sara Cannizzaro

This article argues for a clearer framework of internet-based “memes”. The science of memes, dubbed ‘memetics’, presumes that memes remain “copying units” following the popularisation of the concept in Richard Dawkins’ celebrated work, The Selfish Gene (1976). Yet Peircean semiotics and biosemiotics can challenge this doctrine of information transmission. While supporting a precise and discursive framework for internet memes, semiotic readings reconfigure contemporary formulations to the – now-established – conception of memes. Internet memes can and should be conceived, then, as habit-inducing sign systems incorporating processes involving asymmetrical variation. So, drawing on biosemiotics, Tartu-Moscow semiotics, and Peircean semiotic principles, and through a close reading of the celebrated 2011 Internet meme Rebecca Black’s Friday, this article proposes a working outline for the definition of internet memes and its applicability for the semiotic analysis of texts in new media communication.


2018 ◽  
Vol 25 (1) ◽  
pp. 27647 ◽  
Author(s):  
Erik Koenen ◽  
Christina Sanko

The article deals with the development of German Communication Studies since the mid-1990s until today. Its focus lays on the discussions on new media and their consequences for the redefinition of the scientific field as “New Communication Science”. Different to the scientific tradition of the ‘old’ German “Publizistikwissen-schaft” with the main focus on mass media and public communication, the ‘new’ field is characterized by a broader view on communication and media in reaction to the interweaving of interpersonal and media communication in the digital age. Ac-cording to the idea of science as social process, this paper asks how the new orien-tation gained acceptance in the scientific community and reconstructs the scholarly debates on this path. These include external triggers of debate such as the Silber-mann controversy that resulted in the appointment of an internal self-conception committee and the very first paper on the profile of the discipline in Germany. The reconstructed debates in this paper outline the development of two strands within the scientific community: traditionalists and visionaries. Although the intensity of discussions on the disciplinary identity of German Communication Studies abated since the adoption of the second self-conception paper that embraced the diversity of the discipline, debates on the extension versus limitation of the range of research subjects in the course of changing media environments and societies prevail until present day.


2019 ◽  
Vol 1 ◽  
pp. 1-8
Author(s):  
Tanase Tasente ◽  
Mihaela Rus

Social Media (Facebook, Instagram, Twitter, etc.) have revolutionized the communication strategies of public institutions in recent years, and communication strategies have understood the different principles on which these new media have been built, compared to traditional means of communication. Beyond the huge openness of these social environments, Social Meda is encouraging users to participate in the in the government process and created a new mechanism through which institution becomes a person, and institutional communication becomes interpersonal communication. This was speculated by many candidates who have won such a high online reputation that their voice can be stronger than the voice of an institution. This study focused on analyzing the Social Media communication strategy of Donald Trump, from 1 July 2018 to 1 July 2019. Thus, we have analyzed the Key Performance Indicators (KPIs) that facilitate Social Media communication, we have identified and analyzed the messages that generate high engagement from users as well as the dominant reactions generated by the online audience.


Author(s):  
Margherita Pagani

As discussed in the previous chapter, the technological innovation process has a pervasive influence on the whole digital metamarket featured by the gradual convergence of three traditionally distinct sectors: IT, telecommunications, and media (Sculley, 1990; Bradley, Hausman & Nolan, 1993; Collins, Bane & Bradley, 1997; Yoffie, 1997; Valdani, 1997, 2000; Ancarani, 1999; Pagani 2000). The numerous innovations that could lead to “convergence” between TV and online services occur in various dimensions (Figure 2.1). The technology dimension refers to the diffusion of technological innovations into various industries. The growing integration of functions into formerly separate products or services, or the emergence of hybrid products with new functions, is enabled primarily through digitalisation and data compression. Customers and media companies are confronted with technology-driven innovations in the area of transport media as well as new devices. Typical characteristics of these technologies are digital storage and transmission of content from a technical perspective and a higher degree of interactivity from the user’s perspective (Schreiber, 1997). The needs dimension refers to the functional basis of convergence: functions fulfill needs of customers which can also merge and develop from different areas. This depends on the customers’ willingness to accept new forms of need fulfillment or new products to fulfill old needs. When effective buying power creates a significant market demand for integrated functions, then boundaries are likely to be dissolved between different consumer groups (Grant & Shamp, 1997). The industry and firm dimension refers to relevant industry variables that affect convergence.1 Market barriers to convergence include industry cultures and traditions, regulation and antitrust-legislation prohibiting the creation of alliances, mergers & acquisitions. Deregulation often leads to a removal of artificial barriers that then promotes industry convergence. Firm-specific barriers to convergence include differences in company cultures and core competencies. Different activities along or across traditionally separated value chains may be merged by “management creativity” (Yoffie, 1997) such as the creation of new businesses, acquisition, or the creation of strategic alliances and networks. Convergence describes a process change in industry structures that combines markets through technological and economic dimensions to meet merging consumer needs. It occurs either through competitive substitution or through the complementary merging of products or services, or both at once (Greenstein & Khanna, 1997). The problem is that the notion of “convergence” itself is generally taken to be a characteristic of digital media, suggesting a possible future in which there might just be one type of content distributed across one kind of network to one type of device. Convergence remains ill defined particularly in terms of what it might mean for businesses wishing to develop a new media strategy. This chapter argues for a definition of convergence based on penetration of digital platforms and the potential for cross-platform Customer Relationship Management (CRM) strategies, before going on to develop a convergence index according to which different territories can be compared. The model herewith discussed specifically refers to the European competition environment.


2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.


Author(s):  
Jesse Schotter

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....


Author(s):  
Tim Rutherford-Johnson

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.


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