scholarly journals Originality, imitation and plagiarism: Teaching writing in the digital age

2009 ◽  
Vol 5 (1) ◽  
Author(s):  
Ruth Walker
Keyword(s):  
New Technologies ◽  
Digital Age ◽  
Fair Use ◽  
Popular Media ◽  
Media Culture ◽  
Teaching Writing ◽  
Online Research ◽  
Student Writers ◽  
Clear Cut ◽  
Writing Standards

At one stage in the anthology Originality, imitation and plagiarism: Teaching writing in the digital age, it is pointed out that students 'worry' about plagiarism in the same way that they worry about engaging in file-sharing or illegally downloading software. That is – they don't. The attendant risks of getting caught or becoming vulnerable to a computer virus are recognised as the potential bad outcomes, but have become steadily normalised. This analogy, with its viral undertones, nicely expresses the quandary at the heart of a discussion of students' writing in the digital age, where the expanded possibilities of online research seem to not only model but to openly invite copying practices. It is increasingly difficult for student writers to negotiate the competing pressures of popular media culture, which actively complicate the concepts of originality and imitation, and the pedagogical directives to avoid plagiarism in their academic work. The issue is not as clear cut as some plagiarism policies might suggest, as the complexities of fair use and copyright of online material are being debated both in and out of the academy. This anthology explores the blurred lines of the often confusing and contradictory approaches to writing in the digital age, with individual essays addressing– through a range of disciplines and technologies – the central question of how ethical research and writing standards and practices can be fostered while simultaneously taking advantage of the opportunities provided by new technologies. View the PDF for the full review

Preschool children’s play and alignments in a bracketed framing of a music-technological breakdown

2018 ◽  
Vol 2 (1) ◽  
pp. 120-142
Author(s):  
Pernilla Lagerlöf ◽  
Louise Peterson
Keyword(s):  
Social Interaction ◽  
Everyday Life ◽  
Detailed Analysis ◽  
Music Technology ◽  
Popular Media ◽  
Media Culture ◽  
Children's Play ◽  
Experimental Activity ◽  
Children’S Play

Music technologies are becoming important in children's play in everyday life, but research on children's communication and interaction in such activities is still scarce. This study examines three children's social interaction in an 'experimental' activity in preschool, when the music technology breaks down. Detailed analysis is carried out by using a Goffmanian approach. The findings illustrate the children's interpretive framings of the adult's introduction and their orientation to the technological material in order to perform different alignments and how they change footings. The children's social interaction is organised according to the playful framing of the bracketed activity. This suggests the significance to pay attention to children's definitions of situations and to consider children's experiences of participation in popular media culture.

Media Arts: Arts Education for a Digital Age

2010 ◽  
Vol 112 (8) ◽  
pp. 2118-2153 ◽  
Author(s):  
Kylie A. Peppler
Keyword(s):  
Classroom Environment ◽  
Arts Education ◽  
New Technologies ◽  
Research Question ◽  
Digital Age ◽  
Digital Design ◽  
Media Art ◽  
Education Curriculum ◽  
Media Arts ◽  
K 12

Background/Context New technologies have been largely absent in arts education curriculum even though they offer opportunities to address arts integration, equity, and the technological prerequisites of an increasingly digital age. This paper draws upon the emerging professional field of “media arts” and the ways in which youth use new technologies for communication to design a 21st-century K-12 arts education curriculum. Description of prior research on the subject and/or its intellectual context and/or policy context Building on sociocultural theories of constructionism as well as Dewey's theories of the arts and aesthetics as a democratic pedagogy, this study draws upon over three years of extensive field study at a digital design studio where underprivileged youth accessed programming environments emphasizing graphics, music, and video. Purpose/Objective/Research Question/Focus of the Study This study documents what youth learn through media art making in informal settings, the strengths and limitations of capitalizing on youth culture in media art production, and the distinct contributions that media arts education can make to the classroom environment. Research Design A mixed-methods approach was utilized that analyzed data from participants and professional interviews, an archive of youths’ media art, and videotape documentation of youth at work on their projects. Conclusions/Recommendations Findings point to the ways in which youth engage with technology that encourages active learning and how new types of software can be used to illustrate and encourage this process.

Media Business Literacy in the Digital Age

2020 ◽  
pp. 105-129
Author(s):  
Inci Tari
Keyword(s):  
Media Literacy ◽  
New Technologies ◽  
Digital Age ◽  
Financial Statements ◽  
Disruptive Innovation ◽  
Media Industry ◽  
Broad Definition ◽  
Mainstream Media ◽  
Definition Of ◽  
The Way

The digital age is changing everything forever. Media is changing in many ways ranging from the way people screen it to the way it is operated as a business. Profitable mainstream media of yesterday is struggling to survive against disruptive innovation brought by new technologies and being challenged by giant technology companies such as Google and Facebook, which are forming a duopoly, especially in terms of digital advertising revenues. These conditions are forcing media managers to be more literate than ever. Although there is a definition for media literacy and business literacy, there is no definition for media business literacy yet. This study will try to make a definition of media business literacy, which should involve stakeholders, markets, products, customers, competitors, financial terminology, and financial statements. After this broad definition, the rest of the chapter will focus on the changing media industry structure providing an insight on some financial and numerical information that needs to be understood by everyone interested in media business.

scholarly journals On the return of the (media) author: Michel Houellebecq, écrivain médiatique

2020 ◽  
Vol 31 (1) ◽  
pp. 32-45
Author(s):  
Ashley Harris
Keyword(s):  
Mass Media ◽  
Cultural Context ◽  
New Technologies ◽  
Digital Age ◽  
Social Discourse ◽  
Literary Field ◽  
Michel Houellebecq ◽  
Cultural Domination ◽  
The Media ◽  
Media Authorship

This article argues that Michel Houellebecq is an écrivain médiatique, and it examines how and why he engages in an authorial strategy that relies on more than the text and presents the author as a visible, multimedia, and culturally relevant figure. From an epistemological need to reassess authorship in the digital age, this article defines media authorship before analysing Houellebecq through a critical framework including Meizoz’s concept of posturing (2007), Saint-Gelais’s transmediality (2011) and Angenot’s social discourse (1989). It addresses how Houellebecq attempts to situate and justify his media-focused and author-centric strategy, showing how this reflects the challenges of the cultural domination of mass media and new technologies of the digital age, and indicates that the autonomy of the literary field is diminishing. This article shows how a superficially transgressive engagement with the media and multimedia in fact reflects consent to the dynamics of the contemporary socio-cultural context.

Editors' introduction: Psychology of Popular Media Culture.

2012 ◽  
Vol 1 (2) ◽  
pp. 71-71
Author(s):  
James C. Kaufman ◽  
Joanne Broder Sumerson
Keyword(s):  
Popular Media ◽  
Media Culture

Byzantine Art and Architecture

Art History ◽  
2014 ◽  
Author(s):  
Ellen C. Schwartz
Keyword(s):  
New Technologies ◽  
Eastern Mediterranean ◽  
Eastern Mediterranean Region ◽  
Clear Cut ◽  
Religious Buildings ◽  
Byzantine Art ◽  
Byzantine Architecture ◽  
Byzantine Church ◽  
Elements Of Style ◽  
Art And Architecture

Byzantine art and architecture may be defined as the artistic production of the eastern Mediterranean region that developed into an orthodox set of societies after the relocation of the Roman capital to Constantinople in 330 ce. While there is a debate about the use of the term “Roman” for emperors as late as Justinian (r. 526–565), the churches and their decoration in Ravenna, as well as the 6th-century purple Bible and Gospel manuscripts clearly show the beginnings of the new iconographic and stylistic concerns that we call “Byzantine.” While Byzantium itself was conquered when the capital fell to the Ottoman Turks in 1453, the types of buildings and the traditions of monumental and portable arts continued on, even to the present day in places such as Mount Athos. Thus it is hard to define the era with clear-cut beginning and endpoints. It is similarly difficult to define Byzantine architecture and art in geographic terms. The quintessential middle Byzantine church type, the cross-in-square, continues in Russian churches in contemporary times. Elements of style in icon painting are preserved as well. The orthodox traditions that are expressed in these artistic forms cover much of eastern Europe; autocephalous churches form part of the orthodox confession despite the differences in language as well as the addition of some local saints. Areas included in what has been called the “Byzantine Commonwealth” include Serbia, Montenegro, Macedonia, Bulgaria, Russia, and parts of Albania and Romania, among others. The relationship of the style to Italy has never been satisfactorily explored. Byzantine art and architecture have largely been studied in terms of religious buildings, decoration, reception, and liturgical use. New approaches such as the study of gender, light, and sound (both vocal and musical) in Byzantine art are yielding significant results. Recently, secular arts have begun to form a focus of examination. New technologies have allowed closer viewing of objects such as ivories; modern approaches have also been applied to the consideration of Byzantine buildings and artifacts, yielding innovative interpretations. Although a tiny fraction of what we believe was created still exists, Byzantine art has continued to fascinate viewers as seen by a number of recent exhibitions worldwide.

Home Musical Environment of Children in Singapore

2008 ◽  
Vol 56 (2) ◽  
pp. 101-117 ◽  
Author(s):  
Chee-Hoo Lum
Keyword(s):  
Music Education ◽  
Classroom Practices ◽  
Peer Groups ◽  
First Grade ◽  
Ethnographic Study ◽  
Popular Media ◽  
Media Culture ◽  
Musical Play ◽  
The Media ◽  
Home Musical Environment

The home musical environments of a class of 28 first-grade children in Singapore were examined in this ethnographic study. Technology was an integral part of the soundscape in the home. The musical repertoire gathered was closely associated with electronic and pop-influenced music, approaching the styles favored by teens and adults. Particular musical styles and selections that the families listened to and watched through the media also fueled these children with a sense of ethnic identity and nostalgia. Children's popular media culture was part of these children's broader social repertoire, creating a shared frame of reference for their musical play and generating cultural capital that was valued within their peer groups. Consideration of the various contexts in which these children learn about music, where their musical identities are being shaped under the influences of their techno-, media-, and ethnoscapes (dimensions proposed by Arjun Appadurai), has implications for music education classroom practices.

scholarly journals Formation flight investigation for highly efficient future civil transport aircraft

2016 ◽  
Vol 120 (1229) ◽  
pp. 1081-1100
Author(s):  
G.J. Durango ◽  
C. Lawson ◽  
A.Z. Shahneh
Keyword(s):  
New Technologies ◽  
Formation Flight ◽  
Practical Implementation ◽  
Aerospace Vehicles ◽  
Efficient Operation ◽  
Fuel Savings ◽  
Clear Cut ◽  
Highly Efficient ◽  
Air Transport Industry ◽  
Near Future

ABSTRACTFormation flight could greatly assist the air transport industry in tackling the challenges of environmental impact, excessive reliance on fuel and overcapacity. Previous studies have shown drag reductions leading to significant fuel savings for aircraft in formation relative to their solo flight. Safety is guaranteed with the use of extended formation distances, and practical implementation issues could be solved in the near future. Since studies so far have focused on existing aircraft configurations and technology, a case study using a strut-braced wing airliner was carried out to ascertain its applicability to less conventional craft. The present results did not indicate such clear-cut benefits. If formation flight is to be successful and beneficial for the next generations of aircraft, it will be vital to consider its interaction with new technologies developed for highly efficient operation, in particular those aimed at reduction of aircraft drag such as laminar flow, and to do so early in the design of aerospace vehicles and wider systems.

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